The Replicated Screenplay : A Fable

The Replicated Screenplay : A Fable

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

2 January

The Replicated Screenplay : A Fable

In thanks to Thurber for the pleasure given by his Fables for Our Time

In the hush-hush days of Hollywood, it is well past the point of no return before what has somehow happened comes to light. Through some staggering implausibility, the screenplay that has been developed in one studio is, word for word, identical with that worked on by another*, and they each had gone into production with it.

When the studio heads eventually come to believe (which is not easy for them to do) that this is truly not the result of espionage or collusion, and that litigating the matter will not get them nowhere, they accept the situation for whatever cosmic quirk it is. They agree different names for each film, and that they will battle it out at the box office, relying on the distinction brought to the screenplay of their producers, directors, stars, directors of photography, film editors, wardrobe, make-up, hair, set-design...

When the films are released, though, what amazes them most is that no one includes both films in their reviews, let alone praising one over the other : seemingly, no one has noticed.

From then on, as other studios watched in surprise, Hollywood learnt a lesson, realizing that they had been giving cinema-goers and critics too much credit. They have never looked back.


End-notes

* Many will not be unaware that one is, of course, also indebted here to Jorge Luis Borges, for his story (in essay form) that re-creates the writings of Miguel de Cervantes, 'Pierre Menard, Author of the Quixote’ (‘Pierre Menard, autor del Quijote’) (and for having had the opportunity to refer to it a preview, for Cambridge Film Festival 2014 (#CamFF), of Othello (Otel.lo) (2012)).


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

For posting 1111, a portal-page to the TAKE ONE interviews...

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

17 October

Interviews conducted for, and published by, TAKE ONE, a Cambridge-Film-Festival-based – and mainly on-line (http://takeonecinema.net / @TakeOneCinema [formerly www.takeonecff.com]) – publication [except at the time of Cambridge Film Festival (@camfilmfest / #CamFF)]

In Saffron Walden : was one an amazing present (from another) ? - and, with the other, does that have to be 111 IKC ? pic.twitter.com/njhUbl3mOO

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 1, 2015

An accreting series of links, by order of interviewee's name (date of publication is in square-brackets, and the film-title links to the IMDb (@IMDb) web-page for the film) :


Claudio Zulian [23 September 2015] :
Interview with Claudio Zulian – Anthony Davis spoke to Claudio Zulian, the creator of the film BORN, which screened at this year’s Cambridge Film Festival. [BORN follows the 18th century adventures of coppersmith Bonaventura, his sister Marianna and the rich merchant Vicenç, in the disappeared neighbourhood of El Bornet in Barcelona.]

Born (2014) ~ bornfilm.org ~ @Bornfilm

Daisy Hudson [14 January 2017] :
Half Way – We spoke to Daisy Hudson whose documentary chronicles her family’s devastation when they find themselves at the mercy of the housing crisis. [HALF WAY chronicles the experience of a family of three women trapped in a homeless limbo.]

Half Way (2015) ~ halfwayfilm.co.uk ~ @halfwaydocu

Desiree Akhavan [20 September 2018] :
Interview with Desiree Akhavan – Anthony Davis spoke to Desiree Akhavan at the Cambridge Arts Picturehouse recently after the screening of her film THE MISEDUCATION OF CAMERON POST. He began by asking whether she had been influenced by ONE FLEW OVER THE CUCKOO’S NEST or GIRL, INTERRUPTED…

The Miseducation of Cameron Post (2018) ~ CamPostFilm.com ~ @campostfilm

Dunstan Bruce [17 October 2014] :
A curious life – We spoke to Dunstan Bruce at Cambridge Film Festival this year about his documentary A CURIOUS LIFE, which follows the winsome Jeremy 'The Levellers' [@the_levellers] Cunningham on a trip down memory lane via squids, folk-punk festival mayhem and the Battle of the Beanfield

A Curious Life (2014) ~ acuriouslife.co.uk/Blog ~ @a_curiouslife

Hammudi Al-Rahmoun Font [9 January 2015] :
Font's Othello – Anthony Davis spoke to Hammudi Al-Rahmoun Font about his entertaining and provocative Catalan adaptation of OTHELLO, screened at CFF2014

Otel.lo (Othello) (2012) ~ otello.cat ~ @otel_lo

Ken Loach [6 June 2014] :
In conversation with Ken Loach – Ken Loach visited the Cambridge Arts Picturehouse with his new film JIMMY’S HALL; Anthony Davis spoke to him about journalistic vitriol and corporate propaganda

Jimmy's Hall (2014) ~ http://www.facebook.com/JimmysHallFilm ~ @JimmysHallFilm

Laura Rossi [17 October 2014] :
Interview with Laura Rossi – Anthony Davis spoke to composer Laura Rossi about her experience writing music for BFI Silent Film JANE SHORE (1915), currently touring the UK

Jane Shore (1915) ~ http://www.laurarossi.com/janeshore/ ~ @thelaurarossi

Magali Pettier [28 August 2015] :
Addicted to Sheep – Anthony Davis spoke to Magali Pettier, farmer’s daughter and director of ADDICTED TO SHEEP, which follows a year in the lives of two sheep farmers.

Addicted to Sheep (2015) ~ http://www.addictedtosheep.com ~ @addictedtosheep ~ @MagaliPettier

Mar Coll [27 September 2014] :
[Appended to Rebecca Naghten's] review of We All Want What's Best For Her (2013) – Anthony Davis spoke to director Mar Coll after the screening, focusing on the mental-health-related themes in the film. (An extract of the interview follows.)

Tots volem el millor per a elle (2013) ~ http://www.totsvolemelmillorperaella.com ~ @Totsvolem_peli

Marc Quinn / Gerry Fox [23 July 2015] :
Interview with Marc Quinn & Gerry Fox [Although there is now a link to the full interview] – On 23 July the Arts Picturehouse screened MAKING WAVES, a documentary in which Gerry Fox records one year in the life of Marc Quinn. The film delves into the nature of creativity, following Quinn across the globe. Shortly before the post-screening Q&A we spoke to director Fox and subject/artist Quinn about his notorious “shit-head”, his bromance with Fox and the film’s examination of Quinn’s Warhol style “assembly line of art workers”.

Marc Quinn : Making Waves (2014) ~ http://www.marcquinn.com ~ @_MarcQuinn

Raf V. [11 February 2018] :
Vlogumentary joy with Rafael V. – In his 2017 documentary JOY, vlogumentary maker Rafael V. asks what it means to be happy – where can we find joy ? A few months on from the film’s release, Anthony Davis caught up with Rafael to discuss his personal approach to cinéma vérité, reflect on what he learned from making this film, and find out about his next project.

Joy (2017) ~ youtu.be/tp1AVRoS77Q ~ @variousgiraffes

Toby Amies [6 November 2013] :
Interview with Toby Amies – Filmed predominantly in his cave, haven, call it what you will, of a council flat, Toby Amies’ touching portrait follows ageing maverick Drak [self-styled Drako Zarharzar] as he goes about his everyday life, or rather his every second. Anthony Davis spoke to Toby Amies following the screening at Cambridge Film Festival.

The Man Whose Mind Exploded (2012) ~ http://itunes.apple.com/gb/movie/the-man-whose-mind-exploded/id894744010 ~ @DrakoZarharzar ~ @TobyAmies

William Fowler [12 October 2012] :
Interview with William Fowler – Following the collection of works, featuring or directed by Bruce Lacey, that he brought to the 2012 Cambridge Film Festival, I spoke to William Fowler, who is Curator of Artists’ Moving Image at the BFI (British Film Institute [@BFI])

The Lacey Rituals (1973) ~ http://www.brucelaceyexperience.com

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Film Festival frenzy (#CamFF 2015)

Recollected in tranquillity : Cambridge Film Festival 2014 (#CamFF)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

27 July

Recollected in tranquillity :

The bustle that was Cambridge Film Festival 2014 (#CamFF)

Cambridge Film Festival (@camfilmfest / #CamFF) is just around the corner from putting on its big show again – amazing to think that, when one first attended screenings there, all the programming was for a one-screen cinema, and one almost took for granted getting to see the new Woody Allen early…

As the Festival gears up for the thirty-fifth time (that’s where, behind the scenes, the frenzy comes in !), no less, a little moment to reflect on last year…


* Well, one was seeking to promote the Camera Catalonia (Catalan) strand, by providing reviews ahead of the screenings : a double pleasure, first to do so, and then to see how – beyond the confines of 'a screener', watched on a laptop – the full potential of the image blossomed in proper screenings

Composer Ethan Lewis Maltby, on the far right, during the Q&A for Fill de Caín (Son of Cain) (2013) (with Ramon Lamarca next to him, and director Jesús Monllaó)

* Relatedly, meeting and interviewing three Catalan film directors – and happening to take two of them punting on the Cam (and even giving one a punting lesson)

Punt pupil (and film director), Hammudi al-Rahmoun Font

* Plus lovely Festival photography from Tom Catchesides (@TomCatchesides) and David Riley (@daveriley) ! (That as well as being with the winning team of Catalan curator Ramon Lamarca, and intern-cum-interpreter Cristina Roures)

Ramon Lamarca and Mar Coll at Festival Central – image courtesy of Tom Catchesides

* The chance to watch both screenings of some Festival favourites at, and see especially how Kreuzweg (Stations of the Cross) (2014) (but also Mary is Happy, Mary is Happy) (2013) repaid renewed attention

* The coffee, the chats, the news – in passing, as one dashed to different screenings – of other viewings, and the celebrated insanity of the TAKE ONE (@takeonecinema) crew (and of a Vine into which we were all cajoled, which was later banned (Not me, guv’ !)…)

* Meeting Dunstan Bruce (@dunstanbruce) for a fun, late-night TAKE ONE interview about A Curious Life (@a_curiouslife), his film on The Levellers (@the_levellers) (with a microphone-wielding editor in chief hiding under a table ?)

Dunstan Bruce

* With Screen 1 in gala mode, the warmth and energy in a film tribute to the late Tony Benn, Tony Benn : Will and Testament (2014)

* Warmth and energy of a different kind in, having guided one of the Catalan directors there, Festival regular Neil Brand (@NeilKBrand), with Jeff Davenport, playing to Menschen am Sonntag (People on Sunday) (1930), an early picture credit for Billy Wilder

* And, of course, the expected preview of the new Woody Allen, Magic in the Moonlight (2014) (and the brief delight of a vocal from Ute Lemper) – a tetchy role for Colin Firth that also made some people unnecessarily sceptical of historical fact that men of his age married women of the age of Emma Stone ?

* Closing-night party ? No, sorry, one does not know anything about that !



See you at Cambridge Film Festival, daily during the eleven days from 3 to 13 September !


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Camera Catalonia at Cambridge Film Festival 2014 Part IV : Punting-lesson with Hammudi al-Rahmoun Pont*, director of Othello (Otel.lo) (2012)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

3 October

Camera Catalonia at Cambridge Film Festival 2014 Part IV : Punting-lesson with Hammudi al-Rahmoun Pont*, director of Othello (Otel.lo) (2012)


* NB contains spoilers (but only about punting) *

Principles of punting

* Stand stably on the back-board of the punt – unfortunately, climbing up and down from there in the first place is one thing that makes the punt most unsteady (as does anyone moving position, unless they keep low)

Balance is crucial, but not difficult to achieve

* Be aware, at all times, of overhanging trees (however decorative)

This is where the Cam turns a literal corner between St John's and Trinity

* Likewise, have regard for people in the way, especially those who clearly have no idea how to punt, and steer out of harm’s way

The punt behind is the danger here - unless it changes course, the only way is down, or into, the left-hand side of ours

Adjustment of our position averts the likelihood of being knocked on the side

* Drop the pole, into the water by the side of the punt, as vertically and quickly as possible

To begin with, dropping the pole in its optimal position will feel awkward, and require care and concentration

* Push through the pole as straight as possible, using the side of the punt to push along – it is effective, even if it makes a rough-sounding noise

In this position, the vagaries of not pushing straight, and then ending up having to adjust, mean that bumping against the side-wall is not unlikely (unless a conscious move is made towards the centre of the river)

* Except when avoiding a hazard, steer once the pole has been dropped in and pushed through, using it like a rudder, which simply needs to become second nature – for a large adjustment, pulling the pole through the water from side to back steers it one way, whereas lifting it out from the side, dropping it at the back, and moving it around to the front brings it the other way

Being in a good position to begin with (nothing behind, ahead clear) make being able to push and make any adjustment afterwards much easier

* NB Be aware that, at some points, the river is very deep, so one will have almost no push once the pole comes in contact with the bottom

* At other points, the end of the pole will engage with mud – unless it comes free on a first pull, and with a twist, leave it, as going back for the pole is what the paddle is for



* Other than having a brilliant teacher (four pupils, no dunkings) and admiring the view (when safe to do so), there are no other rules of punting - except getting through a gap in the traffic safely when one can (rather than the niceties of being on one side of the river, not least when scenic willow boughs are less lovely to punt through, and some spots are always deep or muddy)

It's tough teaching - you just need to relax, amongst the detritus of someone else's enjoyment, and relish your pupil's moves

The Wren Library, Trinity College

One can testify that Cambridge's Pint Shop provided a very acceptable alternative to Guinness®, for our Catalan punter, as a reward for his studious efforts on the Cam !


End-notes

* OK, the name is Hammudi al-Rahmoun Font, but it is fun for the Freudian slip to evoke 'bridge' and 'punt'...


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

News and views from Cambridge Film Festival / #CamFF 2014

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

15 September (updated 17 November)

Following the elaborate planning, this posting records what actually happened, and when, with links to reviews (two still lagging behind)...


As in 2012 (and 2011), there is a code, which is :

A Abandoned - Walked out partway through

AA Wished to abandon - But, against better judgement, could not (or did not) leave partway through

B Blog - There is a posting about the film on the blog, to which the link takes one (although it may not be a review)

C Catalan preview - A film from the Camera Catalonia strand, reviewed ahead of and for the Festival

M Missed - Planned - or had tickets - to see, but had to skip

P Partly watched - A clash with an earlier (or later) film prevented seeing it as a whole

O Take One - Published on line as a guest review

S Seen - The opposite of Missed

The great Tony Jones @camfilmfest what a man. pic.twitter.com/KunPw1CoNA
— Owen Baker (@Owenkits) September 7, 2014

Tony Jones, Trustee of Cambridge Film Trust and director of Cambridge Film Festival for 30 (?) years - the longest-serving UK festival director

Thursday 28 August

6.00 P Peter Sellers : The Early Shorts (1957) : Emmanuel (90 mins) - The one caught, Dearth of a Salesman, was also short on laughs...

7.00 AA The Kidnapping of Michel Houellebecq (summed up, pretty much, in Andrew Pulver's review for The Guardian) (Opening Film) : Screen 1 (93 mins)

10.00 B S Magic in the Moonlight (2014) (plus a riposte to TAKE ONE's reviewer) (Opening Film) : Screen 1 (97 mins)


Friday 29 August to Sunday 31 August (both inclusive)

Delayed response to the loss of a dearly loved companion subverted any plans for cinema-going on these days, but, by proxy...

Saturday 30 August

7.30 Bx2 S Ida (2013) (plus spoilery critique) : Screen ?? (80 mins)


Monday 1 September

1.30 B S A Most Wanted Man (2014) : Screen 1 (121 mins)

4.00 AA B Four Corners (2014) : Screen 1 (114 mins)

6.30 B S Under Milk Wood plus Q&A (1971) (Dylan Thomas 100) : Screen 1 (88 mins)

9.00 B S Before I Go to Sleep plus Q&A (2014) : Screen 1 (92 mins)


Tuesday 2 September

1.00 M M : Screen 1 (1931) (117 mins)

Nifty bit of timing - arrive at Festival Central at 1.15 for 1.30 screening of Fritz Lang's M at @camfilmfest : it was at 1.00... #CamFF
— THE AGENT APSLEY (@THEAGENTAPSLEY) September 2, 2014

3.30 S Last Call (2013) : Screen 2 (91 mins)

6.00 S How I Came to Hate Maths (Comment j'ai détesté les maths) (2013) : Emmanuel (110 mins)

8.30 B S Mary is Happy, Mary is Happy (2013) : Emmanuel (127 mins)


Wednesday 3 September

1.30 B S Iranian (2014) : Screen 1 (105 mins)

4.00 AA Eastern Boys (2013) : Screen 1 (128 mins)

6.30 B x 2 S Stations of the Cross (and further thoughts on a second viewing) (Kreuzweg) (2014) (German) : Screen 2 (104 mins)

9.00 C S Tasting Menu (plus a riposte to TAKE ONE's reviewer) (2013) (Camera Catalonia) : Screen 2 (85 mins)

11.00 M Short Fusion : Life Lessons : Screen 2 (79 mins)


Thursday 4 September (a day for not sticking to the plan at all !)

11.00 M Night will Fall (2014) : Screen 1 (75 mins)

1.30 M Le Jour se Lève (Daybreak) (1939) : Screen 1 (93 mins)

As to be on general release, substituted by rewatching :
2.30 B x 2 S Stations of the Cross (and further thoughts on a second viewing) (Kreuzweg) (2014) (German) : Screen 2 (104 mins)

4.00 P German Short Films (German) : Screen 1 (~70 mins) (all 2013) Will have to miss the end to get to Still the Enemy Within (2014)...

6.00 M Still the Enemy Within (2014) : St Philip's Church (112 mins)
Instead rewatched :
6.00 B S Mary is Happy, Mary is Happy (2013) (Festival link) : Emmanuel (127 mins)

8.30 M Under the Lantern (1928) (Lamprecht) : St Philip's Church (129 mins)
Stay for this - or head to Festival Central for...
9.00 M We Are Many (2014) : Screen 1 (104 mins)


Friday 5 September

1.00 B C S We All Want What's Best for Her (Tots volem el millor per a ella) (2013) plus write-up of Q&A (now with photos) (Camera Catalonia) : Screen 1 (105 mins)

Just time to interview Mar Coll (director and co-writer of We All Want What's Best for Her- write-up to come...) before :
4.00 S People on Sunday (Menschen am Sonntag) (Lamprecht) : Emmanuel (73 mins)

5.00 P Energized : Screen 1 (91 mins) Sadly, needing to miss the start of which...

7.50 C S Son of Cain (Fill de Caín) (2013) (plus write-up of Q&A) (Camera Catalonia) : Screen 2 (90 mins)

10.30 M The Mad Magician (Retro 3-D) : Screen 2 (72 mins)


Saturday 6 September

1.00 M Berlin, Symphony of a Great City (Lamprecht) : Screen 3 (74 mins)

Missed to interview - and take punting - Jesús Monllaó, director of Son of Cain (Fill de Caín)


2.30 B S Fiction (Ficció) (Camera Catalonia) : Screen 3 (107 mins)

5.00 AA B Amour Fou : Screen 1 (96 mins)

7.30 B S Tony Benn : Will and Testament : Screen 1 (running-time not advised)

Not likely to finish in time for (as was indeed so)...

9.00 M West (Lagerfeuer) (German) : Screen 2 (102 mins)


Sunday 7 September

1.00 C S Othello (Otel.lo) (Camera Catalonia) : Screen 2 (69 mins)


The next film was missed, because of lunch and then completing an interview with Hammudi Al-Rahmoun Font, director of Otel.lo (with the kind assistance, as translator, of Cristina Roures)

4.00 M A Poem in Exile (Camera Catalonia) : Emmanuel (77 mins)

Silver Punt Award For Best Documentary 2014: A Poem In Exile http://t.co/HdEMjBqncg
— Cambridge Film Fest (@camfilmfest) September 12, 2014

5.30 M Set Fire to the Stars (Dylan Thomas 100) : Screen 1 (90 mins)

Sorry to have to miss you, @setfirettstars, at @camfilmfest, but needed to take @Al_RahmounFont punting whilst he was around...
— THE AGENT APSLEY (@THEAGENTAPSLEY) September 16, 2014

For the sceptical, there is evidence of that punting-trip, with star pupil Hammudi

8.00 A The Grandmaster (which turned out to be Surprise Film 1) : Screen 1 (?? mins)


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)