I often use this blog to bang on about films, cultural things and stuff. So, in this piece I’m just going to let the pictures tell the story.
Safe to say the The Prodigy absolutely rocked and raved Alexandra Palace last Saturday and here’s the evidence.
Myself and my son Rhys had a cracking time seeing the big beat chart-stoppers who are clearly in a class of their own!
I loved Doctor Who as a child. I am 44 years of age and STILL that child.
For a kid growing up on a Battersea council estate in the 1970s, Doctor Who was an eccentric, colourful, funny, tempestuous and brave hero who fought men, women, aliens, monsters and a plethora of villains and bullies across time and space. The Doctor is the original Guardian of the Galaxy who every Saturday (and later midweek) would travel into my home via the TARDIS and cut a blaze across the living room all to the wonderfully eerie and memorable theme tune. Moreover, he’s a sci-fi James Bond but without the testosterone, misogyny and faint whiff of STDs.
Of course he has his companions and gadgets but Doctor Who is more complex than 007 due to the plethora of fascinating concepts pertaining to temporal and spatial ideas which can brilliantly propel us to any moment in time and place from past to present to future.
Allied to this the mystery and suspense created by utopian and dystopian locations and societies; use of historical figures; incredible and fantastical aliens; and finally allegorical narratives which comment on the politics, socio-economics and scientific aspects of humanity all make Doctor Who one of the greatest dramas in televisual history.
I read someone once write that Doctor Who is a kids show adults can watch. I think it’s the other way round. Doctor Who is a scientist, an action man, an enigma, a righter-of-wrongs, moral, amoral, simple, complex, protector of children and the underdog; sometimes even a villain; but above all else an Earthly treasure and long may he continue.
My Doctor Who childhood timeline contains vague recollections of William Hartnell and Patrick Troughton repeats; misty then firmer visions of John Pertwee; solid memories of my favourite – the bold, bellowing, mischievous – Tom Baker; and the young, dashing Peter Davison. I continued watching as the show as it slid down the BBC management’s pecking order.
Indeed, controller Michael Grade hated it while Colin Baker was in tenure. Thus, the nonsensical visual mess, over-synthed-80s-soundtrack and miscast Sylvester McCoy would become final nails in Doctor Who’s creative coffin. They were dark days indeed for the Timelord who went into permanent stasis.
The show was consigned to a televisual black-hole never to be seen again. So it seemed until It briefly sparked as a BBC TV movie starring the handsome and quirky Paul McGann. Yet that star burst as quickly as it arrived. Flash-forward to 2005 and Doctor Who was relaunched with Russell Davies as the showrunner and serious actor Christopher Eccleston adorned in a cool black leather jacket commandeering the TARDIS. We were ready, once again, to go boldly go where no Gallifreyan had gone before. Sorry, wrong show.
With one foot in the past I watched the Eccelston season and really enjoyed the reboot. But somewhere along the line I lost touch around 2nd season David Tennant. Thus, when one of my favourite actors, Peter Capaldi, was announced as the 12th Doctor I decided to get back on board the TARDIS and in 2014 did a massive catch-up on the show. And you know what? I loved it.
So, in appreciation of Doctor Who, circa 2005 onwards, this piece looks back in admiration at 10 years of the “new” Doctor. I’ll list my favouritest TWO (not necessarily the best) episodes of EACH SEASON; and with so many good episodes I am probably wrong! Remember it’s just the internet and my opinion so let’s do this: GERONIMO!!!
To be continued:
**IF YOU CAN WORK OUT THE PLOT – THERE ARE SPOILERS**
So, Paul – what’s Interstellar (2014) all about?
Well, the film is a science-fiction epic about the end of the world. Some astronauts are sent on a deadly mission – led by Matthew McConaughey’s ‘Coop’ – farmer – to try and find habitable existences in outer-space. To do so they must travel into the unknown across the heart of darkness; through worm-holes; through black-holes; crossing temporal and spatial dimensions to find a solution to save the human race.
Meanwhile, the emotional meat of the story is supplied by McConaughey/Cooper’s relationship with his daughter portrayed by Mackenzie Foy/Jessica Chastain. He had a son as well but apparently he didn’t matter as much and was ultimately used as weak final act plot point.
Sounds complicated?
Yes. It is. And also very very long. So load up on popcorn.
What did you like?
This is a visually stunning experience with some incredible set-pieces on Earth, in Space and on other planets. But from a visual and conceptual genius such as Christopher Nolan I expected as much. The “wave” sequence on ‘Miller’s Planet’ is an oxygen-stealing delight and I was gasping at the awe of it all.
Moreover, space has never looked so beautiful and dangerous and Nolan — clearly inspired by Stanley Kubrik’s seminal 2001: A Space Odyssey (1968) — delivered a truly spectacular experience when Cooper’s craft hurtles through the black hole Gargantua at the end of the lengthy middle act.
The film also has some wonderful science-fictional ideas relating to time and space and being a big Doctor Who fan I almost got my head around them; sort of. Such concepts will of course solidify on further viewings once the blood in my buttocks begins to re-circulate. Did I say it was a very long film?
Yes. Yes you did. So, Paul, what didn’t you like about the film?
Well, I think there is an Alfred Hitchcock quote – which I’m paraphrasing now – where the Master said “if the audience is thinking too much they’re not feeling.” Something like that.
Oh, that’s clever. Using another director’s words to critique another.
Yeah – it is. And my main problem with the film was that I was so busy trying to get my head around the plethora of concepts in the screenplay that I didn’t feel ANYTHING for the characters. I would have been happy with the film on a visual and poetic level if ALL the dialogue had been removed and emotion allowed to arrive between the spaces. But by over-reaching it dragged the whole film itself into a black hole of incomprehension.
To me the best science fiction marries concept with emotion. Some of the acting was fantastic notably from McConaughey but – like the superior Inception (2010) – many of the characters are reduced to mere expositional tools – Anne Hathaway’s Brand being an example of this. Inception worked better because it was grounded in the heist movie genre where Interstellar is all over the shop from: disaster-movie-to-space-opera-to-thriller-to-art-cinema-genres.
There were numerous plot-holes throughout beginning with the awful first act which set up the characters badly and then ran with poor characterisation throughout the film. Many of the cast, notably Jessica Chastain, Casey Affleck and Matt Damon, were given a bit to do but far too late in the narrative. And the speed with which concepts are thrown at us in the last 40 minutes are just damn confusing.
What did you think of the film overall?
Watching Christopher Nolan’s over-expensive and humourless folly was like eating your favourite cake for 3 hours on a rollercoaster. I loved it – then I hated it – then I loved it – then I hated it – then I felt horrifically sick and wanted to get off. By the end – like life itself – I wondered whether it was all worth it.
It felt like a big-budget apology to his family for perhaps being an absent father. Perhaps it’s a film to watch with the sound off and classical music on; although I did enjoy Hans Zimmer’s score . Yet, the over-loaded plot-lines and weak-movie dialogue ruined the stunning visuals and action set-pieces for me. Indeed, I watched Nightcrawler (2014) on the same night and that took a simple premise with one major character and rinsed that idea for all the suspense and drama it could.
Nolan has made some great films with clever ideas such as: Memento (2000), The Prestige (2006) and aforementioned Inception (2010) which retain their emotional impact while delivering some mind-bending concepts. Moreover, he breathed life into the Batman franchise with his brilliant take on the Caped Crusader. However, Interstellar is a fail for me. It’s a magnificent looking jigsaw but if the maker doesn’t give you all the pieces, or the bits you do have don’t seem to fit properly; all you’re left doing is banging the table in frustration.
Who do you think you are slagging off one of the great filmmaker’s of our time?
I am no one. I work in a Scrap Metal Yard. But I paid my £11 entry fee and thus feel like I am entitled to an opinion. My feeling after watching Interstellar – and following his involvement in the dire Man of Steel (2013) – is that Nolan the director should sack Nolan the screenwriter. Perhaps he’s spread himself too thin producing and directing several big budget films in a short period of time? Nonetheless there is no doubt Nolan is a genius filmmaker creating marvellous blockbusters-with-brains. But, as a storyteller he is losing the plots somewhat and in danger of disappearing up his own black hole.
This year I did a little comedy show at the Brighton Fringe Festival with fellow comedian GWILUM ARGOS. I also thought it would be fun to film the whole process and edit it into a, hopefully, funny documentary. The editing process was long and laborious but I have finally finished the bastard and here it is. It is not intended to reinvent the wheel formally speaking but I hope it will be something amusing to look back on in year’s to come.
THE PITCH
PAUL LAIGHT and GWILUM ARGOS star in a humorous documentary filmed and edited in 2014 as they prepare, rehearse and perform their comedy show at the Brighton Fringe Festival (2014).
This is a mixture of sketches, podcast, trailers, interviews, stand-up performance etc. The video is intended for promotional and non-profit making purposes. It is a historical document recorded for a laugh and posterity and possible insight into the creative process.
THE FILM
THE CREDITS
Comedy material written by Paul Laight and Gwilum Argos. Original songs written by Gwilum Argos.
Other songs/music used by kind permission.
The Rock and Droll Experience was shot and edited by Paul Laight.
Thanks to everyone involved for their assistance including http://www.laughinghorse.co.uk and the audience who supported our show etc.
A Fix Films Production – http://www.fixfilms.co.uk
I was on holiday with my son playing Top Trumps. Well, we
didn’t take a holiday to play Top Trumps but we were on the plane
playing DC Superheroes and SpongeBob Squarepants Top Trumps and I had the idea of doing a Rock ‘N’ Roll supergroup top trumpy kind of thing. Who’s my favourite drummer, singer/front-person, bassist, keyboardist, lyricist, rhythm guitarist and lead guitarist? And why? Well here are my picks for what could be the greatest rock band that never existed. Of course, it’s highly subjective and on any given day I may go another way on some of these choices. If you agree or disagree let me know. Or don’t.
THE DRUMMER – KEITH MOON
The Who’s wild man of rock and roll was an all or nothing legendary figure that beat living hell out of the drums on some of the great rock tunes of our time. A sweaty, ferocious and fiery figure he lived by the booze and by god he died by it too. It was his attitude as much as his technical ability (not that I’m an expert on this) as he played with the Devil in his eyes and the sticks. Read the book Dear Boy – it’s a great read about a man who didn’t just raise hell but lowered heaven for us mere mortals too.
THE BASSIST – GARY “MANI” MOUNFIELD
Mani wasn’t just in ONE of my favouritest ever bands – he was in TWO: Mancunian baggy geniuses The Stone Roses and Scottish junkie rock ‘n’ rollas Primal Scream. He transformed both bands with a Cheshire Cat grin, Northern wit, all-round charisma and powerful playing. The Roses really took off after Mani joined them and their first album is one of the greatest debuts ever in my opinion. For the Scream he brought a dominant, driving energy to their punky-post-industrial-wasteland-blues. Fookin’ legend man!
RHYTHM GUITAR – JOHNNY MARR
Marr was the musical hurricane behind probably my favouritest band ever The Smiths. While Morrissey got the majority of the publicity with his daffodil-sway-dancing, provocative and poetic lyrics and barbed media-jousting tongue but Marr’s guitar sung like an angel on a series of classic albums notably: The Queen is Dead and Meat is Murder. He would go onto be a guitar-for-hire for bands such as: The The and The Cribs and recently released his debut solo album; which wasn’t that bad actually.
LEAD GUITAR – JIMI HENDRIX
Would anyone argue that Johnny Allen “Jimi” Hendrix was the greatest guitarist that ever lived and breathed? Perhaps fans of Slash? Or Jimmy Page? Or Clapton? Or many more? Anyway, he made the guitar sing like demon, and anyone who saw him live was very lucky as he died at such a young age. Hendrix bridged the gap between blues, psychedelia and rock fusing them in a thunderous mesh. And within a few short years he went from backing the Isley Brothers to headlining Woodstock. As well as creating some of the greatest rock and roll songs ever he was a pioneer, mastering feedback and popularizing the wah-wah pedal. Hendrix would be an incredible influence during his life and after he was gone. That’s why he’s my choice for lead guitar.
KEYBOARDIST – RAY MANZAREK
Maybe he does and maybe he doesn’t but I don’t think Manzarek gets the credit he deserves for his playing in 60s rock superstars The Doors. Of course, Jim Morrison was so charismatic that it’s often impossible to take your eyes off his performances, deep growling vocals and magnetic rock star looks. Indeed, it’s so easy to forget the bookish man sitting behind the organ providing the wall of sound in support of the drug-fuelled hell-raiser at The Door’s front of house. However, his rhythm (he also supplied bass), funky, sprawling, rock, pop, classical keyboard-tinkling spanned many different styles, genres and sounds giving the band their originality for the time. Morrison may have provided the cheekbones but Manzarek provided the backbone.
WORDS – MORRISSEY
I used to listen to The Smiths all the time when I was a teenager. Still do. People used to say to me that Morrissey was miserable, moaning and tuneless. Well, to me it was the complete opposite: uplifting, angry and poetic. He disliked much of life around him and gave short shrift to people who got him down. In my little room he spoke directly to my confused young mind providing a wonderful intelligence, dour Northern humour sprinkled with mordant wit and crafty word play. He wrote from the heart and the gut and most importantly the brain. His words often echo around my mind when I’m in certain situations and in my mind the greatest poet/lyricist ever.
SINGER – RICHARD ASHCROFT
This is the most interchangeable of choices. For a long time the front-of-the-band was held by Lizard King Jim Morrison. Then I considered Morrissey or even Freddie Mercury but the latter’s arguably too theatrical for me. Then I thought hmmm… Blondie would be a cracking choice or even Zak De La Rocha of Rage against the Machine; just to give the band something a bit different. Even Dolly Parton, who has a lot of front and sass was a consideration but I just couldn’t hear her singing Morrissey’s words. Bono, Bobby Gillespie, Johnny Cash, Marvin Gaye, Liam Gallager, Robert Smith, Axel Rose and many more went through my mind and then just at time of writing I decided that Wigan-born-ecstasy-driven-poet-come-wizard Richard Ashcroft would be the man to bring this bastard home.
In The Verve Ashcroft’s angular looks and thousand-yard stare are just magnetic as he just throws every emotion into the ring when belting out a tune. Probably not the most gifted technically, yet, within that voice there is pain and sorrow. Plus a world-weary emotiveness within his visage; like a starving vampire desperate to die in the light. I went for him for emotion, feeling, energy and attitude. On any other day, as I say, it could’ve been another singer. But today it’s him.
**CONTAINS MASSIVE SPOILERS YOU BASTARDS**
The passing of comedian and actor Rik Mayall was a ruddy shame. Of course I didn’t know the guy but from a cultural point-of-view here was a comedian, actor, raconteur, writer and clown who I grew up watching on the tellybox and escaped into fits of laughter just at his merest look, gesture, rant, pratfall and frying pan in the face. So when I heard of his death I was disappointed because he was dead. And would never be alive to perform again. That always positive energy was gone.
I myself have attempted stand-up on a lower-runged level of the comedy circuit and while you can obtain laughs through trial, error, gigging, experience, writing actual jokes blah, blah, blah etc. but what you can’t be taught is actually being funny. You’ve either got it or you haven’t. And Rik Mayall didn’t just have funny bones; he had funny eyes, ears, hair, nails, feet, hands, heart, spleen, blood etc. You get the picture: HE was fucking funny!
Kevin Turvey, Lord Flashheart, Richard Richard, his many Comic Strip performances, Alan B’stard, Drop Dead Fred, The Dangerous Brothers etc. were some of the many varied comedic performances Rik Mayall delivered. He could do clown, mania, slapstick, psycho, pathetic, sleazy, satirical, violence, arrogance, low status, high status, eloquence, sarcasm, smarm and many more. Like an overgrown demented child he could run amok, shout then whisper, go dark and then lighten up in a moment. And it was just so bloody natural.
Arguably his crowning performance was as Rick in The Young Ones, a surreal, punkish yet somehow still traditional situation comedy centred around four lazy students who essentially fail to get on whatsoever but still form a dysfunctional “family” unit. Rik was the spoilt mummy’s boy with inklings of anarchic desire yet with a penchant for Cliff Richard records. He was a spotty, poetry spouting virgin prone to bouts of rage and snivelling sycophancy and sneakiness with an anger toward authority and revolutionary ideals but neither the backbone, physical power or bottle to actually do anything that may bring a government down. He was basically a cowardly, hysterical child who happened to be hilarious at the same time.
The Young Ones was a defining comedy for me when I was growing up. I’d never seen anything like it. And ever since I have sought out such programmes containing profanity, imagination, stupidity, slapstick, satire, surrealism and above all else human beings trying and failing to get on with each other. I have subsequently found this in shows such as South Park, Red Dwarf, Blackadder, The Day Today, Alan Partridge, The Office, It’s Always Sunny In Philadelphia to name but a few. However, for the remainder of this piece I want to pay tribute to — if you put a gun to my head — my favouritest thing that Rik was in ever! One of the funniest 50 minutes of comedy ever committed. The Comic Strip film: MR JOLLY LIVES NEXT DOOR!
The Comic Strip Presents: erupted from the sordid strip joint stages of Soho or more specifically the original Comedy Store. Alumni included: Adrian Edmondson, Dawn French, Rik Mayall, Nigel Planer, Peter Richardson, Jennifer Saunders, Alexei Sayle with frequent appearances by Keith Allen, Robbie Coltrane and many more comics who would become household names over the years. Anarchic, punkesque and anti-establishment in approach they were a hurricane of creativity challenging the comedic hegemony and what was considered to be the apolitical, sexist, politically incorrect and old-fashioned performers of the day.
From the stage they marched into our living rooms on the newly founded Channel 4 in 1982 (way back when C4 produced challenging programming) and over the years produced some wonderful and wacky short films, features and shows which satirised everything and anything from: literature, film, television, politics, music, war, fashion, sport, law etc. The Comic Strip Presents: were a staple for alternative souls and any new episodes were greeted with joy in the mind of South London latchkey-TV-addicted kids like myself.
The Comic Strip collective produced too many hilarious shows to mention but my favouritest ever is Mr Jolly Lives Next Door! Written by Mayall and Edmondson they presented two drunken, idiotic morons derived from their Dangerous Brothers’ stage personas. Together they are DREAMYTIME ESCORTS: alcoholic, depraved, sleazy con-artists with little or no redeeming qualities whatsoever; other than arguably perhaps they cause themselves more damage than others. Mr Jolly is a masterclass of violent slapstick, stupidity, sight gags, demented cameos and also some very well written jokes too.
It begins with our unnamed “heroes” helping the police with their enquiries relating to Fatty: a now dead client. Dreamytime Escorts then get confused with their mysterious-assassin-lunatic neighbour Mr Jolly (the hilarious Peter Cook) and somehow are involved in a plot to “take out” Nicholas Parsons; as arranged by demented gangland boss Mr Lovebucket (Peter Richardson). And the whole thing is directed by Stephen Frears – yes THAT Stephen Frears. The same one who directed The Grifters (1990), The Queen (2006) and Dangerous Liaisons (1988) etc.
So with a deranged story — which I think may have influenced another moronic classic Dumb and Dumber (1994) — on the go the audience is driven along on a wave of anarchic fun and alcohol fuelled insanity with Rick and Ade having much fun while they’re at it. The scenes where they torture the Japanese client and get so drunk they end up in the toilet screaming at each other — having “borrowed” Mr Lovebucket’s £3000 to kill Parsons — are a senseless joy. The drunken nonsense is ramped up even more when they take Quiz Show host and TV celebrity Nicholas Parsons to the Dorchester on a night out; Parsons believing they are competition winners when in fact the “Escorts” have accidentally run the real winners off the road and killed them in a fiery blaze.
To a teenager the sheer pace of the lunacy was a thing of beauty and even now when I watch Mr Jolly the chaotic nature of the scenes at the Dorchester at Parson’s house are packed full of physical performances, celebrity in-jokes, stupid sight gags such as the tattoo which Ade thinks has been put on backwards when he looks at it in the mirror. I marvel at the comic timing, sheer energy and controlled mayhem on show. The next day they suffer the grandest of hangovers and when Mr Lovebucket calls in his debt the two drunks must actually kill Parsons. What follows is live action cartoon violence of a side-splitting variety with Rik getting a hammer over his head and Ade holding on while two grenades explode.
Cue a finale which involves a crazy car chase, Rick shitting himself, Dreamytime Escorts van ending up in a skip, Mr Jolly murdering Parsons to the tune of What’s New Pussycat, exploding tonic water and Peter Richardson’s Lovebucket uttering the immortal words: “WHAT IS GOING ON!?” before the whole premises blows up. What you have are Stooges like physical humour combined with Loony Tunes style cartoon violence. There is little satire and no subtlety but it is uproariously funny. We end with Ade and Rick walking down Camden Lock canal before Mayall pushes his partner-in-grime in the water for no reason. And that is what is so great about Mr Jolly: it has no underlying meanings or any depth. It’s stupid and violent and loud and ruddy funny. Rick Mayall was all of these too and much much more and I thank him and Ade for giving us this crazy masterpiece.
MOVIN ON UP; Music to play at my Funeral by Paul Laight
When I shuffle off this coil thingy and my strange life has come to an end I would like these songs played at my funeral please. I’m not dying by the way but I just thought I’d write this down now while it’s on my mind.
1. Con te partirò (Time to say goodbye) – Andrea Bocelli and Sarah Brightman
I first heard this song in an episode of The Sopranos and it is truly incredible. It just has a very simple hook and is beautifully sung by Bocelli and Brightman. Perhaps it’s too grand for a basic bloke who grew up in Battersea but I like its simplicity and wonder.
http://www.youtube.com/watch?v=Nl9WMIPzd6w
2. There is a Light That Never Goes Out – The Smiths
The Smiths are probably my favourite band ever and I would like to pay tribute to them. I love this song as the lyrics are both poignant and morbidly funny to me. If buried I would also like the phrase “Here lies the late Paul Laight who Started Something He Couldn’t Finish!” Another nod to Morrissey and Marr and quite fitting I think.
3. Light My Fire by The Doors
I’m a massive fan of The Doors psychedelic 60s rock blues and I’d like this song played if I am cremated. I considered The Doors’ song The End but that’s a bit depressing so this song works better for humorous and uplifting purposes.
http://www.youtube.com/watch?v=MifWlrkEBD4
4. Intermezzo – Pietro Mascagni (opening theme from Raging Bull)
As a film geek I wanted some classical music to play as I am sent from and into the Earth. I thought about using something by Ennio Morricone or even The Terminator theme song and maybe I still will. I like the idea of The Terminator theme playing and Sarah Connor uttering those infamous words, “You’re terminated, f*cker!” as I’m laid to rest but thought that may upset people in the audience so Intermezzo offers a more suitable piece for peaceful contemplation.
5. Moving On Up – Primal Scream
I’d like to end on an upbeat track and this classic pop song has lyrics and a killer tune which are perfect to send the grieving away with a spring in their step. I don’t believe in God but if there is a heaven hopefully this will be the song playing when I go through the Pearly Gates or am plunged into the Fires of Hell. Either one is fine by me. Got to be the Scream’s original classic too!
The Cinema Fix presents 