More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)
19 October
When George MacKay answered questions at @CamPicturehouse yesterday afternoon, it was after a screening of one of his latest, For Those in Peril (2013) - guarding against the peril of forgetting, here is a posting to record the main points...
* Non-spoilery answers *
NB Here is a link to the review
MacKay worked on three films last summer, which, in order, were How I Live Now, For Those in Peril and Sunshine on Leith.
He said that, as he had most involvement with the director in this film, he had found it a more involving experience, whereas he might have relied more on the cast on other projects.
I asked about the voice that he had used for the voiceover, and how it had been arrived at - it sounded like a complex process, not just of director Paul Wright making it sound more breathy in post-production, but of MacKay working with Wright in a studio, trying being himself, being his character Aaron, etc.
I also asked whether MacKay thought that, given that Aaron sees through Michael Smiley's character (Jane's father), he would have taken in what the people in the town were saying about him, or was too absorbed in trying to get his brother Michael back to pay attention - MacKay thought that it would have affected him, but that he knows what he thinks
Host Jack Toye, Marketing Manager at @CamPicturehouse, asked where MacKay saw himself going in twenty years' time - Toye asked if he would be a Hugh Grant by then, but MacKay said that it was not for him to comment
It was also commented that, despite appearing in this film and Leith with an accent, Mackay is not Scottish - I am not so sure that those who do not sound Scottish do not call themselves Scottish, but am assured that MacKay is from London.
Regarding those fellow citizens' derogatory comments, we were told that they had a script for them, but improvised with Wright, who then processed the results in post-production
As to the arduous nature of the part / story, MacKay said that the support from Wright had made it not difficult, but an enjoyable experience
He had not researched mental health much, and his work with Wright had always been to see where the roots to what was happening to his character lay in events, rather than approaching the film as if it were about mental ill-health as such - the status of the doctor whom he sees was left deliberately imprecise regarding being a psychiatrist
At the end, the irrepressible Rosy Hunt from TAKE ONE presented MacKay with two gingerbread figures, the traditional gesture of welcome in these parts
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
Showing posts with label Sunshine on Leith. Show all posts
Showing posts with label Sunshine on Leith. Show all posts
Saturday, 19 October 2013
Tuesday, 1 October 2013
What did you do during the Festival, Father... ?
More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)
1 October (updated 16 October)
Thursday 19 September
5.00 (1) My Beautiful Country (2012) (Eastern view) (A mini-review)
7.25 (2) Hawking (2013) (A mini-review)
10.15 (3) Blue Jasmine (2013) (A mini-review)
(NB This one is not quite a review, and contains spoilers)
Friday 20 September
6.30 (4) The Taste of Money (2012) (Top 5 Features)
9.00 (5) Unmade in China (2012) (Review by Rory Greener (plus Agent's comments), or there is the review-cum-interview (with director Gil Kofman) by Rosy Hunt, Editor-in-Chief of TAKE ONE)
11.00 (6) Exposed : Beyond Burlesque (2013) (33 1/3)
Saturday 21 September
3.30 (7) Google and The World Brain (2013)
5.30 (8) Pieces of Me (2012)
8.00 (9) The Redemption of the Fish (2013) (Catalan) (Top 5 Features)
Sunday 22 September
2.00 (10) Marius (2013)
(11) Shown with Fanny (2013) (Top 5 Features)
6.00 (12) Blackbird (2013)
(Reviewed with Only the Young (2012))
8.30 (13) Only the Young (2012) (Young Americans)
(Reviewed with Blackbird (2013))
Monday 23 September
12.45 (14) The Taste of Money (2012) (Top 5 Features)
3.45 (15) Prince Avalanche (2013) (Young Americans)
6.15 (16) Dust on our Hearts (2012) (German)
8.30 (17) Rock and Roll’s Greatest Failure : John Otway the Movie (2013) (33 1/3)
(Reviewed with Sing me the Songs that Say I Love You (2012) (33 1/3))
Tuesday 24 September
4.00 (17.5)Estonian short films (Eastern view)
5.30 (18.5) Just Before Losing Everything (2013)
6.30 (19.5) Sing me the Songs that Say I Love You (2012) (33 1/3)
(Reviewed with Rock and Roll’s Greatest Failure : John Otway the Movie (2013)
(33 1/3))
9.00 (20)Deadlock (1970)
Wednesday 25 September
11.30 (21) Upstream Color (2013) (Young Americans) (Top 5 Features)
3.45 (21.5)Absolute Beginners (1986)
6.00 (22.5) White Star (1981 - 1983) (Roland Klick)
9.00 (23.5) Thomas Dolby : The Invisible Lighthouse (2013) (33 1/3)
Thursday 26 September
2.00 (24.5) German short films (German)
4.00 (25.5) Eyes on the Sky (2008) (Catalan) (Top 5 Features)
8.30 (26.5) Paul Bowles : The Cage Door is Always Open (2012)
Friday 27 September
12.00 (27.5) Sieniawka (2013) (Eastern view)
3.45 (28)Black Africa, White Marble (2011) (Too concentrated on the next film to watch more than 30 mins, but what was seen was very good : this won the audience award for documentaries)
6.45 (29) The Man whose Mind Exploded (2012) (Review by Hannah Clarkson, TAKE ONE*)
8.45 (29.5)My Sweet Pepper Land (2013)
11.00 (30.5) Tridentfest (2013) (Review by Mark Liversidge, TAKE ONE, plus Agent's comments, and the following Tweet)
Saturday 28 September
1.15 (31.5) Surprise Film 1 : Sunshine on Leith (2013)
4.00 (32.5) Cold (2013)
6.30 (33.5) Nosferatu (1922) (with Neil Brand)
9.00 (34.5) The Forest (2012) (Catalan)
Sunday 29 September
10.45 (35.5) The Redemption of the Fish (2013) (Catalan) (Top 5 Features)
6.15 (36.5) The Orchard (2013)
9.00 (37)Witchcraft Through the Ages (1968) + Towers Open Fire (1963) + The Cut-Ups (1967)
End-notes
* There is nothing to add to Hannah's review, except that my interview with director Toby Amies will appear soon for TAKE ONE, and, for those who missed this single screening, there is a clip from The Man Whose Mind Exploded on the page for Hannah's review.
NB All links to reviews are now active, and titles with struck-through text were not watched in full (also indicated by adding a nominal 0.5 to the tally)...
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
(Click here to go directly to the Festival web-site)
1 October (updated 16 October)
Thursday 19 September
5.00 (1) My Beautiful Country (2012) (Eastern view) (A mini-review)
7.25 (2) Hawking (2013) (A mini-review)
10.15 (3) Blue Jasmine (2013) (A mini-review)
(NB This one is not quite a review, and contains spoilers)
Friday 20 September
6.30 (4) The Taste of Money (2012) (Top 5 Features)
9.00 (5) Unmade in China (2012) (Review by Rory Greener (plus Agent's comments), or there is the review-cum-interview (with director Gil Kofman) by Rosy Hunt, Editor-in-Chief of TAKE ONE)
11.00 (6) Exposed : Beyond Burlesque (2013) (33 1/3)
Saturday 21 September
3.30 (7) Google and The World Brain (2013)
5.30 (8) Pieces of Me (2012)
8.00 (9) The Redemption of the Fish (2013) (Catalan) (Top 5 Features)
Sunday 22 September
2.00 (10) Marius (2013)
(11) Shown with Fanny (2013) (Top 5 Features)
6.00 (12) Blackbird (2013)
(Reviewed with Only the Young (2012))
8.30 (13) Only the Young (2012) (Young Americans)
(Reviewed with Blackbird (2013))
Monday 23 September
12.45 (14) The Taste of Money (2012) (Top 5 Features)
3.45 (15) Prince Avalanche (2013) (Young Americans)
6.15 (16) Dust on our Hearts (2012) (German)
8.30 (17) Rock and Roll’s Greatest Failure : John Otway the Movie (2013) (33 1/3)
(Reviewed with Sing me the Songs that Say I Love You (2012) (33 1/3))
Tuesday 24 September
4.00 (17.5)
5.30 (18.5) Just Before Losing Everything (2013)
6.30 (19.5) Sing me the Songs that Say I Love You (2012) (33 1/3)
(Reviewed with Rock and Roll’s Greatest Failure : John Otway the Movie (2013)
(33 1/3))
9.00 (20)
Wednesday 25 September
11.30 (21) Upstream Color (2013) (Young Americans) (Top 5 Features)
3.45 (21.5)
6.00 (22.5) White Star (1981 - 1983) (Roland Klick)
9.00 (23.5) Thomas Dolby : The Invisible Lighthouse (2013) (33 1/3)
Thursday 26 September
2.00 (24.5) German short films (German)
4.00 (25.5) Eyes on the Sky (2008) (Catalan) (Top 5 Features)
8.30 (26.5) Paul Bowles : The Cage Door is Always Open (2012)
Friday 27 September
12.00 (27.5) Sieniawka (2013) (Eastern view)
3.45 (28)
6.45 (29) The Man whose Mind Exploded (2012) (Review by Hannah Clarkson, TAKE ONE*)
8.45 (29.5)
11.00 (30.5) Tridentfest (2013) (Review by Mark Liversidge, TAKE ONE, plus Agent's comments, and the following Tweet)
Lovely review, by Ben Graham, of Toby Amies' film about Drako Zarrhazar, The Man Whose Mind Exploded (2013) : http://t.co/2iJ0YslIoc
— THE AGENT APSLEY (@THEAGENTAPSLEY) December 5, 2013
Saturday 28 September
1.15 (31.5) Surprise Film 1 : Sunshine on Leith (2013)
4.00 (32.5) Cold (2013)
6.30 (33.5) Nosferatu (1922) (with Neil Brand)
9.00 (34.5) The Forest (2012) (Catalan)
Sunday 29 September
10.45 (35.5) The Redemption of the Fish (2013) (Catalan) (Top 5 Features)
6.15 (36.5) The Orchard (2013)
9.00 (37)
End-notes
* There is nothing to add to Hannah's review, except that my interview with director Toby Amies will appear soon for TAKE ONE, and, for those who missed this single screening, there is a clip from The Man Whose Mind Exploded on the page for Hannah's review.
NB All links to reviews are now active, and titles with struck-through text were not watched in full (also indicated by adding a nominal 0.5 to the tally)...
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
Sunday, 29 September 2013
Surprise on Leith
More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)
29 September
Yesterday's Surprise Film 1, which Tony Jones had said was a world premiere, turned out to be Sunshine on Leith (2013), the musical with songs of The Proclaimers.
No one expects great depth from musicals, I guess, but the way that the film started, with one voice in a personnel carrier, then a voice in harmony, from two young soldiers who proved to be friends and one of whom was the boyfriend of the other's sister, was evocative - understated, unexpected, it set the tone for the whole film. Many a musical weaves its course around the songs, as Ben Elton might agree, and it is not unusual that their lyrics drive the story, but these, taken from a stage version, seemed a good fit.
In Screen 2 at Festival Central, the quality of the sound was excellent, such that the clarity was there whether it was Jane Horrocks singing, or Peter Mullan, whose voice I quite liked. Mainly charting the ups and downs of the relationships between those two as a couple, and between the existing couple with their daughter, and between her friend and their son, as set up on a blind date. Strain causes travel for one couple when they split up, and the past catches up nastily until differences can be reconciled.
In a blaze of onlookers willing the remaining pair not to be stubborn and back into each other's arms, and then symbolically re-enacting the 500-miles song with a ranks of them moving in formation, the situations and the music that establishes them culminate, having built throughout the film, whether mocking up a proposal and marriage ceremony in the pub, or bemoaning the fate of Mary, Queen of Scots, as a type of female ambassador in one of Edinburgh's galleries.
I am no great fan of musicals, by and large, but this one did it for me : it felt right, it cheered without being sentimental, and it faced up to some of the things that come between those whom we love and us.
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
(Click here to go directly to the Festival web-site)
29 September
Yesterday's Surprise Film 1, which Tony Jones had said was a world premiere, turned out to be Sunshine on Leith (2013), the musical with songs of The Proclaimers.
No one expects great depth from musicals, I guess, but the way that the film started, with one voice in a personnel carrier, then a voice in harmony, from two young soldiers who proved to be friends and one of whom was the boyfriend of the other's sister, was evocative - understated, unexpected, it set the tone for the whole film. Many a musical weaves its course around the songs, as Ben Elton might agree, and it is not unusual that their lyrics drive the story, but these, taken from a stage version, seemed a good fit.
In Screen 2 at Festival Central, the quality of the sound was excellent, such that the clarity was there whether it was Jane Horrocks singing, or Peter Mullan, whose voice I quite liked. Mainly charting the ups and downs of the relationships between those two as a couple, and between the existing couple with their daughter, and between her friend and their son, as set up on a blind date. Strain causes travel for one couple when they split up, and the past catches up nastily until differences can be reconciled.
In a blaze of onlookers willing the remaining pair not to be stubborn and back into each other's arms, and then symbolically re-enacting the 500-miles song with a ranks of them moving in formation, the situations and the music that establishes them culminate, having built throughout the film, whether mocking up a proposal and marriage ceremony in the pub, or bemoaning the fate of Mary, Queen of Scots, as a type of female ambassador in one of Edinburgh's galleries.
I am no great fan of musicals, by and large, but this one did it for me : it felt right, it cheered without being sentimental, and it faced up to some of the things that come between those whom we love and us.
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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