I was reading a follow up report to some of the short listed writers for the CBBC masterclass that were selected from a competition that I entered with a script that I realised slightly too late was probably a bit too similar to "Star Wars" mixed in with slight derivative "Final Fantasy VII". The writer in question, a Michelle Lipton, writes that they were shown a clip from a show written by Russel T Davies called “Children’s Ward”.
“The clips were from a 1996 episode written by Russell T. Davies that went on to win a BAFTA Children’s Award for Best Drama. Steven said that although the episode was over a decade old, he thought it could still be broadcast today without it appearing dated.The storyline dealt with the subject of internet grooming in chatrooms – a boy was being lured to a meeting in a park (in order to buy a rare comic) by a man pretending to be another schoolboy .Steven asked us all to guess how the episode ended – and I don’t think anyone got it right. Although the boy escapes – just – so does the man, and the bleak final shot has him in the park, walking another child he has lured, back to his car. That’s a hard-hitting ending for TV drama in general, let alone a children’s drama.”
The concept of not talking down to children is one that I'm familiar with and it's true that children are capable of all manner of big ideas, dark concepts and all manner of things that would terrify any ordinary grown adult. I'm not trying to criticise the subject matter either; A child would see the above and not find it as sinister or as an adult would, as children are always told not to walk off with strangers and it's only really the adults that can formulate ideas about what happens after the kidnapping. The problem that I have with that being children’s drama is that it's...well, a bit dull.
Obviously, it can be seen as a brave thing to do, if only because although the character we care about escapes, the villain doesn't receive any sort of retribution. But the concept and the set up just seems too much like one of those videos they show you at school warning you not to play around industrial farming equipment, swim around in quarries or jump in front of tractors. Anything like this that I would have seen as a child would have caused me to switch off instantly. I'd be surprised if there is anyone that remembers "Children's Ward" as their favourite show as a child, or if they even remember it without having to think for a few minutes. No matter how well it may be written, and Russell T Davies is pretty good, the whole setup and premise of the show would just leave me stone cold and although I may not be a standard archetype for the rest of humanity, I'm sure I'm not alone in that.
Additional Notes:
I haven't read much more of Michelle Lipton's blog, but if you are also a new writer, it looks to be pretty good.
I don't know if you know what I mean by those videos that warn you about the dangers of playing in a grain hoppers, or the dangers of playing "pin the tail on the live agitated bull", and maybe I only saw these sorts of things because I grew up in a very rural area where these sorts of things could potentially happen, but some of them stuck with me, if only because of the slight absurdity. I remember one video that was called something along the lines of "EVERYBODY ON THIS FARM WILL DIE IF THEY'RE NOT CAREFUL AND THEY'RE NOT" or something equally terrifying, and the plot consisted of the eldest sister of a large family that lived on a farm being warned by a ghost that various siblings were on the brink of death as a result of games of "Hide and Seek: Idiot Edition". The ghost had clearly died from all of these methods in the past and the older sister being switched on and sensible very diligently runs around the farm rescuing her kin from their impending doom. The bizarre bit happens right at the end. The ghost has clearly taken a bit of a shine to the girl and would like some company in the afterlife, so doesn't warn her about the tractor, which unexpectedly squashes her just before the end credits. I'm not sure if this was meant to be as hilarious as we all found it or if it was meant to be more of a "and just to show you that we're serious, we're killing one of the characters" moment. Also, at least one person came away from the screening thinking "hey, playing on farms looks fun! I never thought of that!".
(If anyone has any idea what I'm talking about, please let me know what the video was actually called because it's driving me mad.)
Showing posts with label Film and TV. Show all posts
Showing posts with label Film and TV. Show all posts
Monday, 24 August 2009
Thursday, 20 August 2009
Robin Hood but Not Robin Hood
A few years ago, I decided that I wanted to have a go at writing a version of Robin Hood for television. The angle I was going to take with it was that Robin Hood was not a noble folk hero acting as the original working-class-hero, but that he was just a very consistant thief who stole everything that wasn't nailed down. The story was going to start with him being blackmailed into acting as the noble character that has survived through legend by a rather manipulative Friar Tuck who saw Robin as a way to lift the spirits of the downtrodden masses. There were other elements such as the fact that Robin owed Little John, the local loan shark and general medieval-mobster, an inordinate amount of money, the Sheriff was just a local nobleman trying to do his job and make all the numbers add up, and in general there were a few half decent ideas floating around there that could have produced something that wasn't too bad.
Then the BBC made a version of Robin Hood. I'm not a fan.
I thought that it looked pretty good at first. Promotional posters looked like it was taking a slightly more interesting approach to the character than normal, and I was optimistic about this. Ok, so I probably had to shelve my little project for a while, but perhaps the show would have been ok and much better than I could have done.
I think I survived the whole of the first episode, but I didn't come back to it again. I'm not even too sure what it was about it that repulsed me so much. Maybe it was the plastic-looking axes, the annoying text affects when the scene changed, maybe it was retooling Maid Marrion to be a cross between Lara Croft and Batman (or maybe I'm remembering that wrong) or maybe it was just that there was something everso slightly off about the whole thing. As a quick disclaimer, I acknowledge that there is every possibility that the show found its feet and that the first episode was a glitch and that it's grown into a fully fledged multiple award winning juggernaught of a show, although I doubt it.
I'm not really saying that I could have done better. I don't know whether I could or not. I haven't done anything like that yet all the way through so I can't criticise just yet, but I was annoyed that my ideas were now somewhat invalid by what I can't help feeling is a missed oppurtunity.
A brain wave recently hit me that I could keep my project after all, if I just twisted it slightly, resulting in starting work on a script that is at present titled "Guild of Thieves". I'm using the same scenario, but changing the setting to be set in a city as opposed to Sherwood forest, altering the characters slightly and putting new ones in and essentially changing all but the bare premise. It's turning into a much more interesting beast that I'm ten times more excited about each time I sit down to write something for it, and it also makes me look a little bit more creative than I actually am. Depending on how much further I get with it, I might share some less vague details about it, but for now, think Robin Hood, but Not Robin Hood.
Additional Notes:
Apparently, BBC Robin Hood has been filmed in Hungary. Although that's possibly why it just didn't feel quite right, I do however find it unlikely that my subconscious would have been that eagle eyed to spot subtle differences between the English and Hunarian countryside.
I'm also told that there'll be a new Robin Hood film coming out soon starring, wait for it, Russel Crowe, as Robin Hood. Now, I don't mind Mr. Crowe. I think he's pretty good at what he does and I don't think Gladiator would have been quite as iconic without him, but I just can't quite see him as the prince of thieves...maybe I'm just missing the point and have got too used to my idea of scrawny, scruffy and morally questionable Hood.
Then the BBC made a version of Robin Hood. I'm not a fan.
I thought that it looked pretty good at first. Promotional posters looked like it was taking a slightly more interesting approach to the character than normal, and I was optimistic about this. Ok, so I probably had to shelve my little project for a while, but perhaps the show would have been ok and much better than I could have done.
I think I survived the whole of the first episode, but I didn't come back to it again. I'm not even too sure what it was about it that repulsed me so much. Maybe it was the plastic-looking axes, the annoying text affects when the scene changed, maybe it was retooling Maid Marrion to be a cross between Lara Croft and Batman (or maybe I'm remembering that wrong) or maybe it was just that there was something everso slightly off about the whole thing. As a quick disclaimer, I acknowledge that there is every possibility that the show found its feet and that the first episode was a glitch and that it's grown into a fully fledged multiple award winning juggernaught of a show, although I doubt it.
I'm not really saying that I could have done better. I don't know whether I could or not. I haven't done anything like that yet all the way through so I can't criticise just yet, but I was annoyed that my ideas were now somewhat invalid by what I can't help feeling is a missed oppurtunity.
A brain wave recently hit me that I could keep my project after all, if I just twisted it slightly, resulting in starting work on a script that is at present titled "Guild of Thieves". I'm using the same scenario, but changing the setting to be set in a city as opposed to Sherwood forest, altering the characters slightly and putting new ones in and essentially changing all but the bare premise. It's turning into a much more interesting beast that I'm ten times more excited about each time I sit down to write something for it, and it also makes me look a little bit more creative than I actually am. Depending on how much further I get with it, I might share some less vague details about it, but for now, think Robin Hood, but Not Robin Hood.
Additional Notes:
Apparently, BBC Robin Hood has been filmed in Hungary. Although that's possibly why it just didn't feel quite right, I do however find it unlikely that my subconscious would have been that eagle eyed to spot subtle differences between the English and Hunarian countryside.
I'm also told that there'll be a new Robin Hood film coming out soon starring, wait for it, Russel Crowe, as Robin Hood. Now, I don't mind Mr. Crowe. I think he's pretty good at what he does and I don't think Gladiator would have been quite as iconic without him, but I just can't quite see him as the prince of thieves...maybe I'm just missing the point and have got too used to my idea of scrawny, scruffy and morally questionable Hood.
Wednesday, 12 August 2009
This Might Destroy You
Some may ask "so, David, where have you been and what have you been doing lately?"
Admittedly it's not exactly an FAQ, but inbetween panicking an essay out (it's not a piece of writing, it is a piece of panic) I have been having my soul slowly drained by this site. The TV tropes wiki.
Now, I was introduced to this a good few months ago and didn't see what the fuss was about. Then randomly I looked up a phrase I'd heard about "fridge logic" which then inevitably lead to one long "wiki walk" that is yet to end.
Try it for yourself and see where you end up.
Additional Notes:
My personal favourites: Jumping the Shark and the Batman Gambit. So many funny semi-serious names and so little time....
On the plus side, the whole thing is oddly inspirational. If I can coin a popular trope through my writing, I will actually feel acomplished...
Admittedly it's not exactly an FAQ, but inbetween panicking an essay out (it's not a piece of writing, it is a piece of panic) I have been having my soul slowly drained by this site. The TV tropes wiki.
Now, I was introduced to this a good few months ago and didn't see what the fuss was about. Then randomly I looked up a phrase I'd heard about "fridge logic" which then inevitably lead to one long "wiki walk" that is yet to end.
Try it for yourself and see where you end up.
Additional Notes:
My personal favourites: Jumping the Shark and the Batman Gambit. So many funny semi-serious names and so little time....
On the plus side, the whole thing is oddly inspirational. If I can coin a popular trope through my writing, I will actually feel acomplished...
Monday, 6 July 2009
A little bit Extra
Last week, I spent two days in a night club getting incredibly hot and sweaty, slightly bored and having to dance every now and then against my wishes. However, whereas I normally have to pay an entrance fee for this sort of experience, this time they were paying me, because I was one of about two hundred background artists being filmed as part of Ricky Gervais’ latest venture into the world of film.
Working as an extra is a lot of fun and I’d recommend it to anyone, regardless of whether you’re interested in the industry or not, because it just gives you such an appreciation of just how much work goes into these productions. The two days that lasted approximately twelve hours each probably constituted at most around five minutes of the film. The longest scene included one and a half pages of dialogue, which should equate to one and a half minutes. The number of times the retake scenes to get the best one possible is staggering, when they filmed the short fight scene that took place it took an entire afternoon so that they could film it from several different angles and mash it together afterwards and it was just unbelievable just how much time and effort the crew were dedicating to the project. What I can’t get over is that after those two days I was on the set, the rest of them carried on going with similar schedules the next day, albeit without two hundred extras, most of which behave like slightly arrogant sheep that are desperate to one day become a shepherd, or at least a supporting sheep dog.
This leads me to talk about some of my co-extras. That last statement I’ve just made probably makes it sound like high levels of contempt are being held on my behalf, but this isn’t the case. I honestly felt like most of us, myself included, at points in the day were like arrogant sheep. They still follow where they’re directed, but they complain about it a little bit and are under the delusion that their actions will lead to bigger and better things. Everyone I spoke to was very friendly and all of them interesting people. I got a few laughs when I said what I did for a living and did suddenly feel it a little absurd that I’d chosen to take two days holiday to go and stand in Koko at five in the morning until five in the afternoon when I was talking about how I wasn’t really intending to try and become a professional actor and it was very clear that I had one of the most stable day jobs there and almost everyone else worked in the industry or were at least desperately trying to.
But in fairness, at the age of twenty-four, I was one of the older extras there. Almost everyone else had just finished university, some had just finished college and were thinking about going to university, and a lot of them were saying something along the lines of “I’m going to move down to London soon and find work down here as an actor/actress” as if they hand work out at the job centre. I think what hit me about these statements is that shortly after university, that was probably my plan as well, however unreasonable it might have been. I’m not sure if it was a roomful of naivety, potential, or just sheer hope, but it was something that I felt surprisingly alien. I want to share that hope again, that idea that everything will work out by just being in the right place at the right time, and I honestly hope that some of these wild theories pan out for at least some of my co-extras. They were nice people and deserve a decent break.
All in all, it was a fun couple of days out that wore me out something stupid, but was completely worth it. I’d recommend it to anybody else, if only to experience that odd mixture of being incredibly excited and bored out of your mind at exactly the same time.
Additional Notes:
The film in question is called “Cemetery Junction” and should be out in 2010. I am wearing tight brown flares and a slightly-too-tight green tee-shirt and dancing horribly, so maybe you’ll be able to spot me quite easily.
Stranger things have happened: Apparently Harrison Ford was a carpenter on the set of Star Wars when he was pulled in to play Han Solo. I mentioned this to one of the extras I was talking to by way of conversation that had steered itself in that sort of direction. I don’t think he was really listening because he immediately dismissed this as “not a terribly effective career move”, as if I had been deadly serious in suggesting that the way to become a supremely successful performer was to train in carpentry.
Working as an extra is a lot of fun and I’d recommend it to anyone, regardless of whether you’re interested in the industry or not, because it just gives you such an appreciation of just how much work goes into these productions. The two days that lasted approximately twelve hours each probably constituted at most around five minutes of the film. The longest scene included one and a half pages of dialogue, which should equate to one and a half minutes. The number of times the retake scenes to get the best one possible is staggering, when they filmed the short fight scene that took place it took an entire afternoon so that they could film it from several different angles and mash it together afterwards and it was just unbelievable just how much time and effort the crew were dedicating to the project. What I can’t get over is that after those two days I was on the set, the rest of them carried on going with similar schedules the next day, albeit without two hundred extras, most of which behave like slightly arrogant sheep that are desperate to one day become a shepherd, or at least a supporting sheep dog.
This leads me to talk about some of my co-extras. That last statement I’ve just made probably makes it sound like high levels of contempt are being held on my behalf, but this isn’t the case. I honestly felt like most of us, myself included, at points in the day were like arrogant sheep. They still follow where they’re directed, but they complain about it a little bit and are under the delusion that their actions will lead to bigger and better things. Everyone I spoke to was very friendly and all of them interesting people. I got a few laughs when I said what I did for a living and did suddenly feel it a little absurd that I’d chosen to take two days holiday to go and stand in Koko at five in the morning until five in the afternoon when I was talking about how I wasn’t really intending to try and become a professional actor and it was very clear that I had one of the most stable day jobs there and almost everyone else worked in the industry or were at least desperately trying to.
But in fairness, at the age of twenty-four, I was one of the older extras there. Almost everyone else had just finished university, some had just finished college and were thinking about going to university, and a lot of them were saying something along the lines of “I’m going to move down to London soon and find work down here as an actor/actress” as if they hand work out at the job centre. I think what hit me about these statements is that shortly after university, that was probably my plan as well, however unreasonable it might have been. I’m not sure if it was a roomful of naivety, potential, or just sheer hope, but it was something that I felt surprisingly alien. I want to share that hope again, that idea that everything will work out by just being in the right place at the right time, and I honestly hope that some of these wild theories pan out for at least some of my co-extras. They were nice people and deserve a decent break.
All in all, it was a fun couple of days out that wore me out something stupid, but was completely worth it. I’d recommend it to anybody else, if only to experience that odd mixture of being incredibly excited and bored out of your mind at exactly the same time.
Additional Notes:
The film in question is called “Cemetery Junction” and should be out in 2010. I am wearing tight brown flares and a slightly-too-tight green tee-shirt and dancing horribly, so maybe you’ll be able to spot me quite easily.
Stranger things have happened: Apparently Harrison Ford was a carpenter on the set of Star Wars when he was pulled in to play Han Solo. I mentioned this to one of the extras I was talking to by way of conversation that had steered itself in that sort of direction. I don’t think he was really listening because he immediately dismissed this as “not a terribly effective career move”, as if I had been deadly serious in suggesting that the way to become a supremely successful performer was to train in carpentry.
Tuesday, 23 June 2009
Script Writing
I like to think of myself as a bit of a riter.
I mean that. I know I’m not of a professional standard, I have no real credits to my name and my only real completed projects are half baked essays and a series of underdeveloped comics. I am a riter. Almost a writer, but not quite enough credentials to really qualify.
It is with this in mind that I consider the following might be a pointless thing to say given my lack of experience or even significant effort in the field, but I find writing scripts incredibly difficult. I’m fine in the imagination department and getting ideas for a story and how it will pan out, I’m not bad and improving in the field of characterization, and dialogue, one of the most important things of a script, isn’t a major issue. What I have a problem with is putting it all together.
From a decent amount of experience making comics, I have a rough idea what does and doesn’t work in a narrative sense, largely by doing all the things that don’t work, but I never leant how to write scripts. I always had a plan, but that plan was “I’m starting here, I need to get to here” which in one case took me a whole sixteen page issue longer than I expected. With my current TV script writing project that I’ve set myself, I don’t have the option of crafting it as I go along in the same way that I did with the comics, so I have to start with the script and work it through from there.
It seems that the second you try and mash together the setting, the plot, the characters, the dialogue and the action, things go disastrously wrong. Maybe I’m getting too hung up on formatting the scrip so that it looks professional, but no matter how I write the opening scenes, it comes across as stilted, halting, and generally awful with a real struggle to get the middle ground between fast paced staccato dialogue and longer plodding exposition based dialogue.
What I’m trying to write is the first thirty minute episode for an animated children’s show. I don’t think I have an issue with writing for children, as most of the things I’ve done previously have been of the right sort of tone for children, especially so with only a little bit of tweaking, but I do have a problem with working out how to fit it all together without it becoming utterly all over the place.
Like most things I try and do, I suspect the problem I’m running in to is trying to do it all at once and assume I need to fire out my entire brain into the script in the first few pages, where actually I need to gradually leak it out over thirty, probably leaving plenty more to be deposited over subsequent potential episodes. I also reckon that this instinct of mine to try and do a whole project in five minutes isn’t helped by the fact that the people I’m submitting this to suggest making sure the first ten pages are really tight and gripping because that’s all they’re obliged to read and they’ll only read further if it’s any good, so if I have all the fun stuff happening after the ten page mark, that’s essentially the end of the project.
If anyone has any short sharp hints and tips that I could read and then ignore anyway because I’m not bad at taking advice, just bad at implementing it, I’d be very grateful to hear. Failing that, I’ll try and post some form of update if this goes anywhere.
Additional Notes:
Making mistakes is a fantastic way of learning that I fully advocate and I believe I’ve made a vast majority of them with my comic-projects. If you have the right mindset as well, looking back on those mistakes with a renewed sense of wisdom can be highly entertaining rather than utterly and crushingly depressing.
It’s also quite a kick to see how much you’ve improved from previous attempts. If you take a look at any webcomic and compare the first and most recent entries, chances are you’ll notice a marked improvement. It is incredibly satisfying to see the same thing happen to your own work. I feel really sorry for people who produce vastly inferior creations after they’ve been working in their field for a significant period of time, but that’s enough of that, I promised myself I’d stop complaining about Star Wars and grow up a little bit.
I mean that. I know I’m not of a professional standard, I have no real credits to my name and my only real completed projects are half baked essays and a series of underdeveloped comics. I am a riter. Almost a writer, but not quite enough credentials to really qualify.
It is with this in mind that I consider the following might be a pointless thing to say given my lack of experience or even significant effort in the field, but I find writing scripts incredibly difficult. I’m fine in the imagination department and getting ideas for a story and how it will pan out, I’m not bad and improving in the field of characterization, and dialogue, one of the most important things of a script, isn’t a major issue. What I have a problem with is putting it all together.
From a decent amount of experience making comics, I have a rough idea what does and doesn’t work in a narrative sense, largely by doing all the things that don’t work, but I never leant how to write scripts. I always had a plan, but that plan was “I’m starting here, I need to get to here” which in one case took me a whole sixteen page issue longer than I expected. With my current TV script writing project that I’ve set myself, I don’t have the option of crafting it as I go along in the same way that I did with the comics, so I have to start with the script and work it through from there.
It seems that the second you try and mash together the setting, the plot, the characters, the dialogue and the action, things go disastrously wrong. Maybe I’m getting too hung up on formatting the scrip so that it looks professional, but no matter how I write the opening scenes, it comes across as stilted, halting, and generally awful with a real struggle to get the middle ground between fast paced staccato dialogue and longer plodding exposition based dialogue.
What I’m trying to write is the first thirty minute episode for an animated children’s show. I don’t think I have an issue with writing for children, as most of the things I’ve done previously have been of the right sort of tone for children, especially so with only a little bit of tweaking, but I do have a problem with working out how to fit it all together without it becoming utterly all over the place.
Like most things I try and do, I suspect the problem I’m running in to is trying to do it all at once and assume I need to fire out my entire brain into the script in the first few pages, where actually I need to gradually leak it out over thirty, probably leaving plenty more to be deposited over subsequent potential episodes. I also reckon that this instinct of mine to try and do a whole project in five minutes isn’t helped by the fact that the people I’m submitting this to suggest making sure the first ten pages are really tight and gripping because that’s all they’re obliged to read and they’ll only read further if it’s any good, so if I have all the fun stuff happening after the ten page mark, that’s essentially the end of the project.
If anyone has any short sharp hints and tips that I could read and then ignore anyway because I’m not bad at taking advice, just bad at implementing it, I’d be very grateful to hear. Failing that, I’ll try and post some form of update if this goes anywhere.
Additional Notes:
Making mistakes is a fantastic way of learning that I fully advocate and I believe I’ve made a vast majority of them with my comic-projects. If you have the right mindset as well, looking back on those mistakes with a renewed sense of wisdom can be highly entertaining rather than utterly and crushingly depressing.
It’s also quite a kick to see how much you’ve improved from previous attempts. If you take a look at any webcomic and compare the first and most recent entries, chances are you’ll notice a marked improvement. It is incredibly satisfying to see the same thing happen to your own work. I feel really sorry for people who produce vastly inferior creations after they’ve been working in their field for a significant period of time, but that’s enough of that, I promised myself I’d stop complaining about Star Wars and grow up a little bit.
Friday, 19 June 2009
Three Strikes and you're out
In recent news, we have been hit by a few strikes of late, namely from the RMT tube strike (that admittedly doesn’t exactly affect the whole country, but living in London makes it easy to forget that the tube network isn’t everywhere) and the postal strike that seems to have jumped out on us today. Working for an insurance company that maintains a trade union client base, you would hope that I might have some sort of insider knowledge into the workings of a strike and the dynamics of a trade union, but unfortunately, I am woefully ignorant and probably about to make myself small-scale flame-bait with ill informed opinions.
What I want to know is what is the point of striking and does it actually achieve anything?
The concept of a strike is simple. A work force is disgruntled with the way it is treated, therefore it refuses to do anything until an agreement is reached. This is a good example of a simple democratic “we are not slaves and you can not treat us as such” process and is a very effective way of avoiding being maltreated as an employee. Trade unions make this whole process slightly easier, more secure and less of a risk for the workers and despite them not having nearly as much power as they did in the pre-mining Thatcher strike breaking days, they’re still a force to be reckoned with and some of the unions have a reputation for being particularly militant.
Putting strike action into context at the moment means putting it alongside the ever present news of the ever present doom-and-gloom fuelled recession and enormous record breaking job losses. All in all, an unusual background with which to be dissatisfied with having a job.
Allow me to put forward a few examples:
The RMT Tube Strike
The name “Bob Crow” has become a curse word around London, and I suspect beyond. I don’t really know what his job is like, I don’t know how well he performs his abilities, but he certainly seems to enjoy a good strike. The last strike I remember happening was over a pay rise demand that was actually granted to them before the strike was about to commence, and they went ahead with it anyway. This breaks the fundamental concept of the strike in the first place if you’re going to strike even after you get what you want. It’s almost like the confused teenager that doesn’t know how to stop sulking even after he gets his own way.
The most recent strike was almost as bizarre, almost as if the demands had been written by two people with differing agendas. On the one hand they wanted an increased focus on health and safety, yet on the other they wanted two drivers that were fired for breach of safety regulations to be reinstated. Much as it must have been fun to see the reaction of commuters when the doors on the wrong side of the train opened, it’s not exactly going to win you employee of the month.
A lot of people will complain that tube drivers are overpaid anyway. I wouldn’t entirely agree with this. They have horrible hours, they have horrible working conditions, there’s a certain amount of danger attached to the job through accident, slow deterioration of health or attack from giant moles, and in the middle of all of that is what I can only imagine is mind numbing boredom. At the same time, demanding more pay at the moment when people are being sacked left right and centre is most definitely not going to win the hearts and minds of your passengers, many of whom will earn less than half of the drivers themselves if they are even employed in the first place.
In fairness to the drivers, I did get the impression that many of them weren’t interested in striking, as many of them turned up to work after a while anyway. This could be an example of a union trying to justify its position without really caring about what its members really want, but I don’t know.
The Postal Strike
I do feel that postal strikes have somewhat lost their impact. Aside from businesses not getting a collection or a daily drop off, I’m not sure anybody notices when Royal Mail strike. Also, any impact it has on business that it might have is instantly mitigated by the fact that everyone knows about the strike and everyone knows things might take an extra couple of days and nobody really cares.
I actually find myself sympathizing for the workers on this one. Whenever they go on strike, the create a massive backlog of work for themselves, meaning they have to work twice as hard the following day. I remember our old postman coming into the office the day after a strike muttering to himself about how it was a stupid idea to strike and he didn’t want to and how he then had to work overtime.
In my woeful ignorance I’m not actually too sure why the post office are striking this time around. At a guess I would assume it’s the threat of massive job losses and huge reform or even the threat of re-nationalization, and in fairness if I was about to be nationalized into the public sector at the moment I’d strike as well, but I would be curious to know how not turning up to work really affects the potential job losses factor. I suppose the people that work extra hard the following day get a gold star or something.
The Writers Strike
This is a bit of an unusual one. I realise this happened quite a long time ago as well, but the reason I bring it up is because it’s had one of the most insidious slow-releasing affects of a strike I’ve ever seen. Rail strike: No trains for the day. Postal strike: No post for a couple of days. Writers Strike: all current seasons of TV shows come up twelve episodes short and the films being released in two years time will be awful. The reason I’ve noticed this is because I’ve recently seen two films of vastly contrasting quality; Star Trek which was written just before the strike, and Terminator Salvation, that was due to be written just after the strike started.
As far as an impact goes, a lot of people noticed that their favourite shows had suddenly finished off earlier than expected, or that their favourite oh-so-witty talk show host suddenly wasn’t so witty, and now we’re getting an echo of that impact in the cinema over this summer and probably through to Christmas. As for how effective this was at achieving their aims, I’m not sure. I know that pre-strike, writers were being denied vast sums of royalty money from DVD sales and the like, but I also know that you don’t become a writer in order to make your millions.
A final note
I don’t disagree with striking, nor do I disagree with standing up for yourself if you’re being abused in some way, but I’m just not sure that it works. Going back to themes that I’ve found earlier in this blog, it’s probably the case that I can’t see the bigger picture, and that even a small victory as a result of a strike can result in a large impact on a work force, but sometimes demands are just unrealistic. A threat of a strike also doesn’t appear to be much of a threat most of the time, more a passive inconvenience.
Additional Notes
I might write about these films later if I can muster the apathetic bile I felt for Terminator. In short, if you want to see both, but can only afford to see one through limitations of funds or time, see Star Trek, even if you hate Star Trek.
What I want to know is what is the point of striking and does it actually achieve anything?
The concept of a strike is simple. A work force is disgruntled with the way it is treated, therefore it refuses to do anything until an agreement is reached. This is a good example of a simple democratic “we are not slaves and you can not treat us as such” process and is a very effective way of avoiding being maltreated as an employee. Trade unions make this whole process slightly easier, more secure and less of a risk for the workers and despite them not having nearly as much power as they did in the pre-mining Thatcher strike breaking days, they’re still a force to be reckoned with and some of the unions have a reputation for being particularly militant.
Putting strike action into context at the moment means putting it alongside the ever present news of the ever present doom-and-gloom fuelled recession and enormous record breaking job losses. All in all, an unusual background with which to be dissatisfied with having a job.
Allow me to put forward a few examples:
The RMT Tube Strike
The name “Bob Crow” has become a curse word around London, and I suspect beyond. I don’t really know what his job is like, I don’t know how well he performs his abilities, but he certainly seems to enjoy a good strike. The last strike I remember happening was over a pay rise demand that was actually granted to them before the strike was about to commence, and they went ahead with it anyway. This breaks the fundamental concept of the strike in the first place if you’re going to strike even after you get what you want. It’s almost like the confused teenager that doesn’t know how to stop sulking even after he gets his own way.
The most recent strike was almost as bizarre, almost as if the demands had been written by two people with differing agendas. On the one hand they wanted an increased focus on health and safety, yet on the other they wanted two drivers that were fired for breach of safety regulations to be reinstated. Much as it must have been fun to see the reaction of commuters when the doors on the wrong side of the train opened, it’s not exactly going to win you employee of the month.
A lot of people will complain that tube drivers are overpaid anyway. I wouldn’t entirely agree with this. They have horrible hours, they have horrible working conditions, there’s a certain amount of danger attached to the job through accident, slow deterioration of health or attack from giant moles, and in the middle of all of that is what I can only imagine is mind numbing boredom. At the same time, demanding more pay at the moment when people are being sacked left right and centre is most definitely not going to win the hearts and minds of your passengers, many of whom will earn less than half of the drivers themselves if they are even employed in the first place.
In fairness to the drivers, I did get the impression that many of them weren’t interested in striking, as many of them turned up to work after a while anyway. This could be an example of a union trying to justify its position without really caring about what its members really want, but I don’t know.
The Postal Strike
I do feel that postal strikes have somewhat lost their impact. Aside from businesses not getting a collection or a daily drop off, I’m not sure anybody notices when Royal Mail strike. Also, any impact it has on business that it might have is instantly mitigated by the fact that everyone knows about the strike and everyone knows things might take an extra couple of days and nobody really cares.
I actually find myself sympathizing for the workers on this one. Whenever they go on strike, the create a massive backlog of work for themselves, meaning they have to work twice as hard the following day. I remember our old postman coming into the office the day after a strike muttering to himself about how it was a stupid idea to strike and he didn’t want to and how he then had to work overtime.
In my woeful ignorance I’m not actually too sure why the post office are striking this time around. At a guess I would assume it’s the threat of massive job losses and huge reform or even the threat of re-nationalization, and in fairness if I was about to be nationalized into the public sector at the moment I’d strike as well, but I would be curious to know how not turning up to work really affects the potential job losses factor. I suppose the people that work extra hard the following day get a gold star or something.
The Writers Strike
This is a bit of an unusual one. I realise this happened quite a long time ago as well, but the reason I bring it up is because it’s had one of the most insidious slow-releasing affects of a strike I’ve ever seen. Rail strike: No trains for the day. Postal strike: No post for a couple of days. Writers Strike: all current seasons of TV shows come up twelve episodes short and the films being released in two years time will be awful. The reason I’ve noticed this is because I’ve recently seen two films of vastly contrasting quality; Star Trek which was written just before the strike, and Terminator Salvation, that was due to be written just after the strike started.
As far as an impact goes, a lot of people noticed that their favourite shows had suddenly finished off earlier than expected, or that their favourite oh-so-witty talk show host suddenly wasn’t so witty, and now we’re getting an echo of that impact in the cinema over this summer and probably through to Christmas. As for how effective this was at achieving their aims, I’m not sure. I know that pre-strike, writers were being denied vast sums of royalty money from DVD sales and the like, but I also know that you don’t become a writer in order to make your millions.
A final note
I don’t disagree with striking, nor do I disagree with standing up for yourself if you’re being abused in some way, but I’m just not sure that it works. Going back to themes that I’ve found earlier in this blog, it’s probably the case that I can’t see the bigger picture, and that even a small victory as a result of a strike can result in a large impact on a work force, but sometimes demands are just unrealistic. A threat of a strike also doesn’t appear to be much of a threat most of the time, more a passive inconvenience.
Additional Notes
I might write about these films later if I can muster the apathetic bile I felt for Terminator. In short, if you want to see both, but can only afford to see one through limitations of funds or time, see Star Trek, even if you hate Star Trek.
Wednesday, 17 June 2009
But how does it make money?
I’ve recently obtained some work as an extra. I’ve done some work as an extra before, and if you have made an extensive study of the film “Starter for 10”, you will have seen me a grand total of 3 times, but then, actually, if you have seen me and made a note of the superb performance that I gave, then I’ve been a lousy extra as they’re meant to melt into the background...
The thing I’ve noticed is how much time, effort, and money is being piled into this film even at such an early stage on a relatively inconsequential group of extras. I’ve already attended a fitting that was being run by several costume workers, the pay for the two days filming and the fitting itself is pretty good, and they include travel money as well. It’s also clear that there are a lot of extras that they need to work with.
My question therefore is how on earth do these damned things make money? If vast quantities of time and money are being spent on extras that are in essence untrained instructable monkeys like myself, what are they paying the camera crews, the sound departments, the writers, costume and makeup departments or the name actors, not to mention any post production that's done?
I realise that films can get fairly decent budgets and grants and can pull in a lot of money from the box office, but the scale of these productions seems gigantic, even on smaller low-budget films. I was staggered by the size of operation that was responsible for the 15 seconds of film that my 12 hour day on the set of “Starter for 10” turned into.
Finally, if you can make a decent argument for “films do make money actually”, then transfer the question to television. Clearly we’re on a smaller scale again, but I see the methods of making money through television even more intangible. Really, where does it come from? I can only assume the license fee comes to an enormous sum and revenue from advertising produces the equivalent for non-BBC counterparts.
Maybe I can’t think big. Maybe I can’t see the larger picture when it comes to film and television and revenue therein. Maybe I’m alone in thinking that somewhere, someone forgot to carry the 1 and is now sat billions of pounds in debt but doesn’t want to tell anyone because everyone enjoys film and television too much. Whatever the case actually is, from the minimal amount of time I’ve spent “working” on film sets, I’ve gained a huge appreciation for the amount of effort that goes into even the crappiest of productions.
Additional Notes:
Of course, having seen how much time effort and money goes into these things, it’s even harder to reconcile it with examples of where they just don’t get things right. Not enough films start with a script…
As a quick reccomendation, Starter for 10 is actually a very enjoyable film. A bit quirky, but great fun, and yes of course I'm biassed.
The thing I’ve noticed is how much time, effort, and money is being piled into this film even at such an early stage on a relatively inconsequential group of extras. I’ve already attended a fitting that was being run by several costume workers, the pay for the two days filming and the fitting itself is pretty good, and they include travel money as well. It’s also clear that there are a lot of extras that they need to work with.
My question therefore is how on earth do these damned things make money? If vast quantities of time and money are being spent on extras that are in essence untrained instructable monkeys like myself, what are they paying the camera crews, the sound departments, the writers, costume and makeup departments or the name actors, not to mention any post production that's done?
I realise that films can get fairly decent budgets and grants and can pull in a lot of money from the box office, but the scale of these productions seems gigantic, even on smaller low-budget films. I was staggered by the size of operation that was responsible for the 15 seconds of film that my 12 hour day on the set of “Starter for 10” turned into.
Finally, if you can make a decent argument for “films do make money actually”, then transfer the question to television. Clearly we’re on a smaller scale again, but I see the methods of making money through television even more intangible. Really, where does it come from? I can only assume the license fee comes to an enormous sum and revenue from advertising produces the equivalent for non-BBC counterparts.
Maybe I can’t think big. Maybe I can’t see the larger picture when it comes to film and television and revenue therein. Maybe I’m alone in thinking that somewhere, someone forgot to carry the 1 and is now sat billions of pounds in debt but doesn’t want to tell anyone because everyone enjoys film and television too much. Whatever the case actually is, from the minimal amount of time I’ve spent “working” on film sets, I’ve gained a huge appreciation for the amount of effort that goes into even the crappiest of productions.
Additional Notes:
Of course, having seen how much time effort and money goes into these things, it’s even harder to reconcile it with examples of where they just don’t get things right. Not enough films start with a script…
As a quick reccomendation, Starter for 10 is actually a very enjoyable film. A bit quirky, but great fun, and yes of course I'm biassed.
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