Wheel Reinventing

A life-size horse lamp because A LIFE-SIZE HORSE LAMP. (Without permission from www.droold.com.)

Late last year, I got asked to work up a little something that would probably open with —

BASED ON A TRUE STORY.

I hadn’t done a based-on-actual-events job before* but I accepted the gig because 1. it paid, and 2. how hard could it be?

The  concept was simple enough: a mini-series based on an incident that had happened a decade earlier, was reported world-wide, and it had a gorgeous protagonist to boot. A tweak here and there, and maybe I could work in a car chase, maybe even some gun play. As I researched the heck out of it, a voice in my head screamed over and over, This shit is just writing itself!

Except.

It had to be the kind of show that I would consciously tune in to. Which meant there would be no in media res device in the first ep because I’ve had it up to here with —

A wham-bang opening scene, then --

TITLE: One week earlier.

— so much so that when the Lovely Wife and I were trying a new show recently, I said, “If this sequence ends with a title saying, ‘Six hours ear—’ FUUUCK!” that last word making her spill her tea and I had to go and make her a fresh cuppa.

… Where was I? Yes. So. Here I was playing in the biographical drama space and one of my first creative decisions meant I had no wham-bang sequence to lure the audience in with.

What to do?

The development journey was all down hill from there.

* One could argue that Goodbye My Feleni and We Are Many are earlier outings in historical drama but no: they each took an “Inspired by” approach to Samoa and Aotearoa New Zealand history.

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2020 in Pixels and Points (and Sweat)

Uncut Gems poster.jpg
By Source (WP:NFCC#4), Fair use, Link

Features enjoyed:

Derry Girls.png
By Source (WP:NFCC#4), Fair use, Link

Television savoured:

  • Mr Inbetween S01–02
  • The Casketeers S03
  • Zero Zero Zero
  • Derry Girls S01–02
  • I Am Not Okay With This
  • The End of the Fucking World S01–02
  • Sextortion
  • The Young Pope
  • The Great S01
  • Last Tango in Halifax S01–02

It being the year it was, not much live theatre was attended.

Without permission from www.conundrumpress.

Pages devoured:

This year, I managed to run a personal record-beating 106 times, clocked up a PR-beating 606 kilometres, but didn’t quite manage as much calisthenics as last year. Although guilt continues to be a prime exercise motivator, this year’s outstanding stats were thanks in large part to a couple of Alert Level changes.

Cavalry at rest, September 2020.

Onwards into 2021.

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2019 in Pixels and on Stage

It hasn’t all been writing and commuting and writing this year. Though, to be honest, what year ever is?

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Enjoyed on the big screen:

Honourable mentions: Captain Marvel for being smart and fun; Shazam! for being funny; High Life for leaving this viewer grinning and unable to explain why; and Jojo Rabbit for pulling one of a hat.

Poster showing Chernobyl the five part miniseries for HBO
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Lapped up on the small screen:

Honourable mentions: the final, ultimately disappointing, season of Game of Thrones; The Leftovers, whose first season was a cracker; and The Crown, seasons one to two binged in the month of December, leaving the phrase “thenk yew” as a verbal handgrenade in Fortress Mamea.

Promotional pic for Q Theatre season
Ahi Arunaharan’s My Heart Goes Thadak Thadak, Q Theatre. Pic from 13thfloor.co.nz.

On stage:

  • Red Leap Theatre’s Owls Do Cry
  • Ahi Arunaharan’s My Heart Goes Thadak Thadak
  • Whangārei Music Society’s production of Rent
  • White Man Behind a Desk: Party at the End of the World
  • Matthew Loveranes’ MoodPorn
  • Northland Youth Theatre’s production of Romeo and Juliet

Honourable mentions: Victor Rodger’s Club Paradiso, Bleeding Black, and Black Grace: Dark Matter.

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2018 in Pixels

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Enjoyed on the big screen:

  • Ice King: John Curry
  • Juliet, Naked
  • Jusqu’a la garde (Custody)
  • Lady Bird
  • Lady Macbeth
  • Mystery Road
  • Puzzle
  • Small Town Crime
  • Wind River
  • You Were Never Really Here

Honourable mentions: The Shape of Water; Isle of DogsA Little Chaos.

SharpObjects.png
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And on the small screen:

  • Alias Grace
  • Cobra Kai S01
  • The Casketeers S01
  • Barry S01
  • Five Came Back
  • Godless
  • The Handmaid’s Tale S02
  • Peaky Blinders S01–04
  • Sharp Objects
  • The Thick of It S01

Honourable mentions: Condor; Haunting of Hill House; Ozark S01–02; Six Feet Under S01–05.

And here’s a new “How the heck do they stay so damned good?” category for returning titles that threaten to clog up my annual top ten: The Americans S06; Better Call Saul S04; The Expanse S03. I do miss the suburban adventures of Elizabeth and Philip Jennings Nadezhda and Mischa but all good things come to an end.

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2017 in Pixels

Teaser poster for 2017 film Get Out.png
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Enjoyed on the big screen:

  • Rogue One
  • O le Tulafale (The Orator)
  • Nocturnal Animals
  • The Lobster
  • Get Out
  • The Big Sick
  • Blade Runner 2049
  • Lucky Logan
  • Dunkirk
  • Three Billboards Outside Ebbing, Missouri

Honourable mentions: the hilarious and disgusting Girls Trip; David Michôd and Brad Pitt‘s slow burning War Machine;  the chemistry between Samuel L Jackson and Ryan Reynolds in The Hitman’s Bodyguard; and the excellent I, Tonya Harding.

Goliath, 2016 TV series, title card.jpg
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Binged on the small screen:

  • Goliath
  • American Crime Story: People vs OJ Simpson
  • Legion S01
  • The Knick S01–02
  • The Expanse S02
  • Better Call Saul S03
  • The Handmaid’s Tale S01
  • The Americans S05
  • Stranger Things S01
  • The Punisher S01

Honourable mentions, including those moved here to give new titles a shot: Emily Watson and Ben Chaplin in Apple Tree Yard; the fitfully funny Brooklyn Nine-Nine S01;  creator and showrunner Noah Hawley shows how it’s done in Fargo S03; and, of course, Game of Thrones S07.

Favourite poster of the year? Without a doubt:

Courtesy JoBlo Movie Network — www.joblo.com

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2017 in Points

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My reading output (input?) this year was better than last year. But it coulda should’ve been much better. Standouts from the reading diary:

  • Animal Vegetable Miracle by Barbara Kingsolver — I maybe should’ve read this when the Lovely Wife suggested it before agreeing to follow my wife to rural Northland;
  • Ratatouille (2007 draft) by Brad Bird;
  • Stray Bullets: Sunshine and Roses 007–029 by David Lapham — I thought this sprawling small crime epic was consigned to the unfinished classics section of comic history until I tripped over this at the local library;
  • Garlic and Sapphires by Ruth Reichl;
  • Lazarus X+66 001–005 by Greg Rucka, Eric Trautmann, Steve Lieber and Michael Lark — a very welcome salve while the main Lazarus series is on hold;
  • Atlanta S01E01 by Donald Glover;
  • Te Puhi by Cian Elyse White — a beguiling slice of New Zild history about our first Māori Miss New Zealand;
  • The Pissy Tits Gang by Rosie Howells;
  • The Walking Dead 162–174, including Here’s Negan!, by Robert Kirkman, Charlie Adlard, Cliff Rathburn — the Negan character arc in the Walking Dead comic is a masterclass in humanity, patience  and compassion.

Image courtesy The Walking Dead Wiki www.walkingdeadwikia.com

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SWANZ and BSS 2018

The weekend was kicked off by the New Zealand Writers Guild SWANZ Awards. The ever effervescent Nick Ward MCed the event while I did my best Vanna White impression handing him the awards as required. It was a great turn out — my evening ensemble was admired (21st century Miami Vice, courtesy of various op shops), the food was good and plentiful, and it’s always nice to see so many writerly faces in one place.

The symposium was a more formal affair — collegial rather than fraternal — and was rampant with speakers and attendees, some of them I knew from one thing or another, and some I met for the first time.

Over the three days, I caught up with:

  • Alice, Mel, Alan, Allan, Kathryn and Rachel from the guild represented;
  • three from the class of 2016 — the unstoppable Maraea Rakuraku, the inquisitive William Duignan, and the observant Myfanwy Fanning-Randall;
  • former guild ED Steve Gannaway and his partner Alex Cole-Baker; One Thousand Ropes‘ Tusi Tamasese and Catherine Fitzgerald; PIFT stalwarts Aaron Taouma, Arnette Arapai and Sandra Kailahi; South Pacific Pictures’ Tim Balme and James Griffin; and Waru‘s Chelsea Cohen, Ainsley Gardiner, Paula Jones, Casey Kaa, Renae Maihi, Josephine Stewart-Te Whiu and Katie Wolfe;
  • Chantelle Burgoyne; South Seas’ Gerben Cath; the indefatigable Tony Forster; Paula Jones (no, the other one); Roseanne LiangChristina Milligan; producing titan Robin Scholes; Riverside Kings‘ Sarita So; and the redoubtable Louise Tu’u.

Speaker highlights of the symposium were:

  • an small-group Q-and-A with David Michôd;
  • a refreshing and irreverent talk by Neil Cross;
  • filmmaker So Yong Kim‘s oeuvre is a fascinating thing I need to look into;
  • agent Bec Smith‘s talk was a confirmation of how talent always finds a way;
  • and Oz drama commissioners Kyle Du Fresne and Penny Win, was an interesting session on how things happen across the ditch.

A bit of a blur but I’m glad I attended.

(I’ve done it again: even though I name-checked the Screenwriting Research Network Conference in August, I’ve neglected to write about this year’s Arts Market in Auckland. Next year. Promise.)

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2017 Screenwriting Research Network Conference

University of Otago in Dunedin, NZ.jpg
By Nathan Hughes Hamilton – https://www.flickr.com/photos/nat507/12468333624/, CC BY 2.0, Link

The past four days have been such a blur of ideas, conversation, food and shockingly warm weather that I’m still having trouble believing it’s Thursday already — I only flew down on Sunday to get a headstart on things and —. Did I say I’m having trouble believing it’s Thursday already?

I was very chuffed to attend the 2017 Screenwriting Research Network (SRN) Conference in Dunedin this week. It took me a good day or so to get my head around what the SRN mean by “rethink[ing] the screenplay in relation to its histories, theories, values and creative practices”.

Screenplays as more than just the starting points for film and television productions. I could dig that. Kind of.

Since Monday, academics and practitioners have rubbed shoulders and broken bread together on the Otago University campus, and I thought everyone played rather nicely together. Highlights included — beware shameless name-dropping:

Big props to organisers Davinia Thornley, Al, Amie, Maureen Lloyd, PippaKatie Baddock, and a small army of volunteers for making the whole occasion smooth sailing.

The next conference is in Milan. How hard can it be to knock up an abstract on Screenwriting as discomfit: at which point did I begin to self-identify as a writer?

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Box Watch: The Handmaid’s Tale

The Handmaid’s Tale was my first Margaret Atwood book. It introduced me to her other writing. I’m a fan.

So when I heard last year about this television adaptation, I was prepped and ready to hate it hate it hate it so much that I wasn’t going to even bother wasting my time watching it. And then…

First ep in and I’m on the fence: great world-building but I don’t like the flashbacks — I’d read the book, dammit; viewers should either fill in the gaps or use their damned library cards if they were confused. Second ep in and I’m immersed: the flashbacks aren’t gratuitous; and lead (and producer) Elisabeth Moss’ performance is television gold. The eps are consumed in rapid succession — I read somewhere that it’s been renewed for a second season — and then the season ends just where the book ends and something goes off in my head:

They’ve gone off-book.

I haven’t been this excited about a sophomore season since I don’t know how long.

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