Principal photography on How To Boil An Egg (Part 1) commenced and concluded on Saturday 28th March 2009, and was a pretty cracking little shoot. Here's hoping the rest of the crew enjoyed it as much as I did. Now begins the unenviable task of seeking out edit facilities to cut the film together, under the expert scissorhands of Mr Ian Watson. Anyone who read my blog on the London Short Film Festival will know that I am a big fan of the short, Blunder. Well, I unashamedly poached the actor who played the sales rep, James Palmer, for the lead in HTBAE and he was a real joy to work with and has ideas erupting out of him like an obscene volcano.

In other news, Hidden Animals has been nominated for Best UK Short (Under 15 mins) at the SBFF '09 and The Micro Budget Cookbook has also been nominated for Best UK Short (Under 10 mins). This is all pretty cool and testament to the efforts of a cracking crew on both films.

In other news...

blah there is no other news, although I fear my dog is becoming depressed as he grows up and realises that Newport is a dump. Lets hope he continues to stay ignorant though.

Got sent an email from a guy called Paul Blinkhorn (cracking name) inviting me, as well as all the other filmmakers to meet up for a drink at BIFF. I clicked on the link at the bottom of his email and got directed to a section on the BIFF website, detailing all the films and lo and behold, someone has written a (brief) review of Hidden Animals, which is cracking. The link for Bradford is here but have pasted the excerpt below:

"A young bag snatcher is in turn ripped off by the sleazy owner of a chip shop, who is also involved in other shady dealings, setting in motion the first stages in a vicious circle of petty crime and exploitation. A well-cast and neatly crafted look at a dog-eat-dog world with a chilling sting in the tail."

Congratulations to the cast and crew for this.

Went to   more »

Have signed up to a load of networking sites today, in order to promote Hidden Animals on Rever.com. This is a cracking website that attaches an advert on the front of short films and shares the revenue with the filmmaker. Made a pesky promise to all the crew on Hidden Animals that any profits made from it will be split equally with everyone, so doubt I will make my millions form this.

Anyway, take a look as views mean money!

http://tinyurl.com/b8un4m

Okay, first things first, saw the remake of "Halloween" last night. Absolute drivel, possibly the worst re-make of all time. How does Rob Zombie keep getting money to make films. There is totally no redeeming features for this pile of pap.

Slumdog Millionaire, cracking film.

and finally, Hidden Animals has been accepted to the Bradford Int. Film Festival, which is really quite cracking. Also been accepted onto the SSAW Student Panel. Not wholly sure what this will entail.

Rob Zombie sucks

Have just started pre-production on "How To Boil An Egg (part 1)". Hoping to shoot this in mid-march on full HD.

More updates to come

"Hidden Animals" is now on IMDB here. There are some slight glitches regarding cast and crew but will try and sort that out. Well done to everyone involved

Just came back from the cinema after watching Milk. It's brilliant, thoroughly recommend people spend their money on this. It's worth it just for Sean Penn but the supporting cast are all excellent as well, with Josh Brolin getting a deserved academy award nomination. Gus Van Sant's direction throughout is also brilliant, with some really inspired shots, peppering a sensitive and ultimately honest portrayal of an important gay rights figure, a subject that must have been close to his heart and difficult to take an unbiased view of.

The film has even more poignance at this time, considering the success of the Proposition 8 campaign in California. Watching Milk, it's difficult to comprehend that universal bigotry and prejudice was accepted as the norm only 30 years ago, in a country who's original pledge of allegiance (1892) read "one nation indivisible with liberty and justice for all.” I suppose, you only need to look at the newest pledge of allegiance, (1954) which has shoe horned "one nation under God" into the oath. Those two words have been used to justify the persecution of anyone that the moral majority felt did not quite fit in. I sometimes wonder if those people realise wearing polyester is also an affront to god.

Milk exposes the danger of humanity's irrational fear of the unfamiliar and how the actions of a terrified few can have lasting implications. I find it depressing that people are still subject to bouts of fear and how that fear will continue to drag back a progression toward a tolerant society. I dont think anyone has the right to deny two consenting adults the ability to get married. Personally, I would have no interest in getting married in a church, which seem to me nothing more than a monument to greed and insuring complicity via fear. Thus, a marriage outside of a church or place of worship has no religious bearing and should not be subject to the persecution afforded to religions.

Religion of any kind and legislation should never mix, in my opinion. History makes laughable any attempts by religion to claim the moral high ground.

I am an unashamedly staunch supporter of the Public Service Broadcast system and am often dismayed at idiotic Facebook sites that call for the removal of the license fee. You only need to take a look at the American system, in particular Fox news, to see what happens when a program bows to the whims of it's financiers, whether they be Rupert Murdoch, Coca Cola or whoever. Although it produces some really amazing TV, Simpsons, Sopranos, Pushing Daisies, Family Guy etc, these are in the minority and the vast majority is utter pap like The Young & The Restless or the myriad CSI spin offs

The services provided by the license fee, including BBC Website, iPlayer, Digital Radio and, most importantly IMPARTIAL news are not things to be taken for granted and the desire that seems to building from the shouting minority is for us to resort to an all commercial system. Which, in my opinion, would lead to a general dumbing down of society at large and create a political apathy, even worse than what already exists.

The BBC's impartiality is the bedrock of the organisations worldwide respect. Their refusal to air an appeal on the Gaza crisis is correct, in my opinion, in that as an ongoing news story with an incredibly complicated past history, it would be negligent of the BBC to hitch itself to any side in this conflict. Running an appeal on behalf of the people in Gaza, however carefully done, would associate BBC editorial policy with the Palestinian perspective of the fighting.

On a personal level, I totally disagree with the response of the Israeli's in this conflict. To date, 600 civilians have died and a UN base razed to the ground in Gaza, compared to 3 civilian deaths in Israel. Any death at all is unwarranted but it seems to me the Israeli's are using a hammer to crack a peanut. (forgiven the glibness of the metaphor) But what also needs to be remembered is that Hamas seek out civilian populations, in order to either create the maximum collateral damage from Israeli bombs or prevent Israel from responding at all, out of conscience. The conflict is too complicated and Britains role in it's genesis too great for us to blindly pick sides or be insensitive enough to unwittingly aid either side and risk inflaming the situation.

On Saturday night at 11:15pm, Vick and I attended the London Short Film Festival in support of the screening for Hidden Animals, which was up for the Best Midnight Movie Award, sponsored by "Under The Influence"

The screening took place in the ICA, which isn't too dissimilar to Chapter. Didn't start too well as had to go through the embarrassment of checking my name was on the guest list and if I really was Ryan Hooper. The door was guarded by the biggest woman I have ever seen, and for a minute I had a nightmare vision of being chucked out on my backside by Guardzilla but fortunately everything was in order and we escorted to the screening room. There were about 10 people there and the pangs of nerves I had begun to dissipate. Unfortunately within about 5 minutes 60 people trooped in and the pangs gave way to cold hard fear.

There was a quick announcement and introduction from the festival organisers, detailing why each film was selected and that the eventual winner would get a screening at the Curzon along with a trophy that looked very dubiously like the (stolen) original Football World Cup Trophy (I cant remember if they ever found that?)

The lights went down and the screening began with some really beautiful shots at a dog track, some shot on super slo-mo with a really cool soundtrack. I scoped the place out for an exit to bolt out of but the screen suddenly changed and I realised that was the opening credits for the festival itself, which are usually bolted onto the opening of most festival screenings. That didn't make me feel to much better but Vick had my arm in a vice-like grip, so there was no escaping.

I thought I would give a really quick rundown of each film, so please indulge me:

"Outcasts" Dir: Ian Clark
Was directed by recent NFTS graduate Ian Clark, (more info can be found at the link) had an all disabled starring cast, focused on an ardent fan of Pete Dohertyesque rock star. Along with her friends they kidnap him, threaten to burn him and literally "screw" him. It had a similar feel to Pink Flamingos and an incredibly impressive list of sponsors, including SKY, BBC, FIVE, Channel 4 as well as various production houses and so forth. I sunk into my chair.

"Dead Dog" Dir: Edward Jeffreys
This film detailed the loss of a dog, revenge against a grumpy farmer and a girl dancing to a cassette tape, whilst her boyfriend goes all 'D-Fens Foster.' This film is doing pretty well on the festival circuit and was the eventual winner of the "Best Midnight Movie Award." It has a fairly truncated narrative and, to be frank, was not really my cup of tea but there are people out thee who know far more than me who rave about it.

"Walker Stalker" Dir: Keith Claxton
This film was produced by Sentinel Entertainment, a family company specialising in content for mobile phones. The film followed a serial killer who stalked his victims via bluetooth on their mobile phones. The film had a very B movie feel and a cracking soundtrack underpinned the tension. As long as you can get past the obvious question of, "Why dont the victims just turn off their phone?" this film makes for an interesting ride, if a little too long.

Then it was Hidden Animals. Watching an audience of people you don't know, watching your film is pretty horrible so all i'm gonna say is that I don't recommend it.

"Guns" Dir: Mel Melcer
This had particular poignancy for me as this was about a runner on a film set, being asked to work ridiculous hours. If Matt Redd, Glyn Hamer or Elen Wiliams are reading this they might understand. Anyway it plays with race in a funny way and has a moral message at the end, definitely worth a look.

"Blunder" Dir: Simon J Riley
In my opinion the best film on show. Did not have the best production values, shooting format etc but I really enjoyed it. The story is about a well meaning, gormless sales rep who stumbles across a husband/wife sex game with disastrous results. I suppose it's right up my street really but catch it if you can.

"Second Guest" Dir: Dan Turner
This was one of the UK Film Council shorts and starred Claire Goose, who memorably plummeted to her doom on Waking the Dead. To be honest, I didn't really like it and thought the twist at the end was fairly obvious. Claire Goose was very good though and there were some memorable shots, especially a very unsettling final dolly shot.

"Jack Blond" Dir: Rebecca Coley
Cracking film, ran Blunder a close 2nd in my humble opinion. Details the adventures of a spy on Jersey, who thwarts a jewel heist and gets the girl. Jack has Down's Syndrome and uses peoples misconceptions to good effect. Contains a Porsche car race round the coast of Jersey, a high powered boat chase, eventually thwarted by the coast guard and Jack heroically diving into the sea to save a discarded hostage. Contains a brilliant shot of Jack, dressed in a full tux, striding out of the sea with the hostage in his arms.

What followed was, frankly the most ridiculous argument and trash talking ever heard in a cinema. As Jack Blond finished, a fairly obnoxious guy was talking loudly, having already been chastised at the beginning for his loudmouth. After two minutes of name calling the embarrassing scene came to an end (full of profanities I dont wish to repeat) with the immortal come-back, "Well it takes one to know one." The usher told them both to shut up or he would get security and the childishness ended.

"Alicja Wonderland" Dir: Martin Gauvreau
Okay gonna admit from the off that I didn't get this. Made out of the internationally respected Polish Film School, I was really looking forward to it after attending Camerimage. It was very long and contained a, frankly, incomprehensible narrative. Technically excellent, some beautiful compositions and the acting was very good throughout. This film has an audience, just guess it wasn't me.

Anyway, that's it really. Next day went to the Natural History Museum and saw some dinosaurs, which was awesome so all in all a cool weekend for me. Vicki was bored senseless I think, as I struggled to explain that a velociraptor was actually the same size as a turkey and had feathers but she hid it well.

This is the beginning of the end for Hidden Animals now, rode this pony for far too long. Gonna try and get it into BAFTA Cymru and the London Independent Film Festival but that will be it. Next screening will be in SBFF I guess, which should be the final time in public so want to say a really big thank you to all the cast and crew, especially Sonia, AJ and John Harvey who gave me enough confidence to think HA was worth making and without whom there would not have been a film. Big thank you to Vick who has dealt with rampaging ego by always being on hand to point out my many flaws, ha ha. In all seriousness would be able to do very little without her support and help, let alone make a film.

Take care

If you are still reading, go get a life!

Got a little bored over the last few days and made a website for Hidden Animals, so take a gander here if you fancy

Got the London Short Film Festival tomorrow, so will write about it when I get back, never know might win something.

50p on a scratchcard would do

All the breast

I guess I could make some stupid joke about buses here but I'm not going to.

As documented I have a particular beef about the lack of short film funding in Wales and the detriment that causes. I recently made a documentary on micro budget filmmaking in the UK and one of my interviewees was Chris Jones, of Guerilla Filmmaker fame. He recently made a short, "Gone Fishing" not too dissimilar from the Movie Mogul Fund model in order to gain funding for his Rocketboy feature.

Chris was interviewed by Variety regarding the short film format, as well as two animators, Alan Smith and Adam Foulkes, and the article gives an interesting insight into the possible future for the format. It can be read here

Its fairly obvious that I am a big fan of the short film format and glad to see that people are championing it. It would be myopic of me though, to purport that the assertions of this article are encouraging for the 'average joe' short filmmaker. The advantages that Chris Jones has over most other filmmakers is that he already has a captive audience from the hugely successful Guerilla Filmmaker book series. Thats not to hold that against him, he has found a unique way to increase his profile, which has the added benefit of helping out aspiring filmmakers. What I would say is that there are not many people who could raise the tens of thousand he has via the Associate Producer funding format. Alan Smith and Adam Foulkes, although obviously fantastically talented, deal in animation, which is inherently cheaper than shooting live action. So as long as they can get their hands on some relevant software, there entire world can be crafted to their precise requirements and the only expense would be time.

The digital revolution has made quality and relevant short filmmaking even more expensive, as there is so much more being made, in order to make something distinctive you need the money to either pay to shoot on film, on excellent production design or named actors. Chris and I had a discussion about the advantages and pitfalls of public funding, his arguments against it being full of merit. But unfortunately its not that easy to drum up enough money from either investors or from your own pocket, unless you are fortunate to be part of the upper crust, to make a short film that will make waves. I suppose if Chris is successful and gets the Oscar nod then this could generate new impetus for the format. Chris is very adept at self promotion and I am sure he will use any success to forward the visibility of Gone Fishing.

As I have previously stated, the quality of film at Camerimage was immense and proves what a jungle the short film world is at the moment.

I don't think the Film Agency should provide money for filmmakers in Wales to make short films. I do think they should have a bank of equipment on hand that can be rented for either nothing or a nominal fee. I also think they should establish links with companies in Wales who can help out a filmmaker trying to make a short on a budget. People are generally very helpful, at least that is what I have found. Most of my expense went on equipment, and at the end of the day I only shot on Digibeta. Post production facilities for image and sound in Wales are very good and understanding of filmmakers trying to make a film without a budget. But its fairly daunting to go to them and ask for stuff for nothing.

I'm wary of going on a "Benitez" style rant so gonna end it here. Good luck to Chris for the Oscars and to Slumdog Millionaire.

All the breast

...I thought I better post something.

Happy New Year to anyone reading, hope you had a good xmas. My apologies for not posting sooner, have recently been working my way through The Stooges back catalogue and have been a little distracted. Might also have something to do with the Xbox I had for xmas.

In Hidden Animal news, we have somehow been accepted to the London Short Film Festival and have been nominated for the "Under The Influence" award. Vicki and I scoped out the competition and the quality is pretty high so I doubt we have a shot but very chuffed to be in the same category as some very good looking films. We are gonna be up there so if anyone is around and fancies a gander would be much appreciated. Although I'm not too sure Hidden Animals can be categorised as " An action-packed, adrenaline-fuelled selection of short films: from car chases to nightmares; bad taste comedy to blood-splattered thrillers – something for all midnight movie lovers everywhere." There has been some discussion as to whether they got my film mixed up with a better one, but I'm intending upon keeping schtum.

Currently working on two short scripts, Green Envy and Attendant and if I manage to win the lottery or track down a leprechaun and pinch his lucky charms they might go into production this year.

Looking forward to Avoiding Christian Bale. Matt, Vivien, Paul and Nic Booth (who incidentally pulled focus on Hidden Animals) are pretty much hideously talented so I would wish them luck, but doubt they need it.

All the breast

Recently came back from the Camerimage Festival in Lodz, which mainly focuses upon the art of cinematography. It was attended by some fairly substantial people, including Roger Deakins, Billy Williams, Andrezj Wajda, Kryzstof Zanussi, Tom Stern etc. It was an extremely enjoyable experience, although I was reduced to a jibbering wreck when introduced to Mr Deakins.

The festival has a reknowned student short competition and most of my time was spent watching these. The overall standard was extremely high, although there were some notable misses from the US, Australia and NZ. There was a film from Finland called 'High Hopes' and I would thoroughly recommend seeking it out.

It served to increase my frustration at the lack of support in Wales for the short film format. Europe seems to have embraced the possibilities of the short form, producing incredibly interesting and impressive pieces of work. The majoprity of films were shot on 35mm, with the very least being Hi Def and an obviously large post-production budget. I have a long running dispute with a good mate of mine, Matt Redd (who also has a very good blog here) regarding the lack of support shown by the Film Agency of Wales for short film. His very credible argument centres around short film being a less than viable business, and as the film industry is a business, funding shorts is a black hole.

The reason I think Matt and the Film Agency are wrong is that short film can be an investment with financial returns, not just a vanity project for a wet behind the ears new director. For Wales to build an industry, which seems to be the Film Agency's remit, it needs new talent to be able to practice and develop. The Film Agency have decided to only support films with the possibilty of theatrical release, which for me is akin to trying to build a house by starting with the roof. This also shows a worrying lack of understanding of the changing landscape of film in the UK, with new forms of distribution such as iTunes, Lovefilm etc providing opportunities for films to be made, shown and become financially lucrative without a cinema release (new studios such as Slingshot are evidence of this.) Wales needs new directors and writers who have the outlet for creative practice. This in turn allows actors and crew the chance to practice their trade as well. An early and comparably small investment in the early stages could lead to massive returns in the future if the next Peter Jackson, Angelina Jolie or George Clooney emerges from Wales. (Dont laugh, it might happen)

Camerimage saw the launch of the Image Forum, a new iniative headed by the BSC to combat the myopic decision of the BBC to refuse to show programs shot on 16mm, due to its current compatibility issues with the upcoming digital transmissions. Irrelevant of the fact that this would render the BBC incapable of screening any of its considerable archive of programs shot on 16mm, there have been massive advances in both stock and equipment for 16mm, as well as the emergence of DI as a post production tool. With new advances in both digital and film hurtling along, directors and crew need the opportunity to be exposed to this. Directors and writers also need the chance to develop creatively, without the worry of a financial flop and a massive blackspot on their careers.

Just a quick hello to say welcome to my blog