It’s always a privilege to talk about cinema, and never more of a privilege than to speak about it with my incredible friend, Lee Gambin, who knows more about cinema than ANYONE IN THE ENTIRE WORLD (it’s a bold statement but one that I feel is fairly close to being accurate).
Lee asked me to join him for an episode of his new podcast series for Diabolique Magazine – The Locust Files – where he has already interviewed Craig Martin, Jarret Gahan, Jennifer Keishin Armstrong, Sally Christie, Bryan Norton, Jenni Olson and John Harrison. I step up to talk about THE FLY (of course), as well as my newer projects (SECONDS and BRIDE OF FRANKENSTEIN), and a whole lot of other nonsense.
Despite a minor COVID-19 setback (i.e. postponement of my trip to LA), the BRIDE OF FRANKENSTEIN book is making excellent progress. It’s mutated into something, I would argue, is even better and more beautiful than my initial ambition: a compendium of essays from a murder of curated writers, with myself acting as the editor.
I’m pleased to make a first announcement of contributors who have agreed to etch their words in blood and dance naked under the full moon – Sally Christie, Lee Gambin, Dan Golding, Jon Towlson and Stephen A. Russell. Each writer has nominated a specific topic/theme of BRIDE OF FRANKENSTEIN on which they wish to focus.
Stay tuned for more news, as I’ll be revealing topics and further contributors as the project evolves. In the meantime…
I’d like to pay my respects to the fine Australian publication, Screen Education – which recently closed its doors after 25 years – with an article I wrote for the Screen team, ‘The Act of Seeing: Cinema, Ethics and Responsibility’.
Editor David Heslin and I worked very hard to craft this piece and ensure it was pitched appropriately so I think it’s worth immortalising here on my website. Not to mention, the article contains input from ethicist Matthew Beard and film academics Steve Thomas, Stuart Richards and Alexandra Heller-Nicholas. You can find the full text posted below.
Note: ‘The Act of Seeing’ also functions as a partner piece to my previous article, ‘To Watch or Not to Watch, That is the Question’, examining similar ethical considerations on watching cinema but from a different angle, which you can read online at Diabolique.
Hope you enjoy the read or, at the very least, it gets the cogs of your mind freewheeling…
Triple R’s Primal Screen (formerly Plato’s Cave) introduced interviews into the show’s format in 2020, and I was lucky enough to speak with Leigh Whannell about his excellent take on THE INVISIBLE MAN concept.
Care to listen back to the interview? You can do so here…
Or why not enjoy the whole episode, which includes our critical dissection of the film…
FINALLY, I can share the news that Jez Conolly and I are in the final stages of a book for Auteur Publishing’s Constellations science fiction imprint on John Frankenheimer’s much-underrated masterpiece, SECONDS, from 1966.
We’ve been at it across the past 12 months, working away quietly under wraps. But, the manuscript has now been sent to our publisher, John Atkinson. This thing is real!
I can’t thank Jez enough for (a) asking me to be his co-author and (b) providing such beautiful writing to encourage me (hopefully) to be better. I would dare to even call the experience ‘transformative’.
I’m so looking forward to giving SECONDS the attention this magnificent film deserves. It is really something very, very special, which our book is attempting to fully capture for the first time in long-form print.
Thank you, too, to Salome Jens, who is resplendent in the role of Nora Marcus, and who kindly agreed to be interviewed as part of our research.
I’m heading to LA in the first two weeks of May! Why?
Because I am researching my book on BRIDE OF FRANKENSTEIN and, like Indiana Jones, I’m on a hunt for the Ark and whatever else I can uncover about this beautiful, important film.
Given this is a business trip, I’m open to any other cinema/film opportunities that might come my way. Stories? Interviews? Other potential jobs? Martinis at Musso & Frank’s? Hit me up with your requests.
I’m already looking forward to catching up with Mark Shostrom, Scott Essman, Tom Blunt, Sam Irvin, my LA housemate Louise Heseltine and the ghost of Ms Elsa Lanchester…
Over the holiday break, while Plato’s Cave was on hiatus, I was asked by my good friend, Sally Christie, to join her and another good friend, Lee Gambin, (and his stunning dog, Buddy) on her special summer show on Triple R, Caught in a Celluloid Jam.
Sally used Caught in a Celluloid Jam as a forum to present some of her favourite topics/genres of cinema. The episode in which Lee and I participated focused specifically on satanic cinema. And what a hoot it was! I strongly suggest you take a listen and hear us rabbit on about approximately 20 films of the devilish kind.
But something else happened over summer… Plato’s Cave has changed!
Now under the name Primal Screen at 7pm Mondays on Triple R, Plato’s Cave gets a same-same-but-different reworking, which includes a new lineup of weekly co-hosts: Paul Anthony Nelson, Sally Christie and Flick Ford.
Old faithfuls, Cerise Howard and myself, will be making the occasional appearance as guests but, in 2020, everything’s getting a makeover, including the show intro, which sounds something like this…
It is with great pleasure that I’ll be joining Stephanie Van Schilt (pictured right) as a mentor of burgeoning female voices in film criticism as part of the Critics Lab at the upcoming Melbourne Women in Film Festival (20th to 23rd February 2020).
Looking forward to learning a thing or two myself from some fresh, fertile filmic minds (mmmmmmmmmm… brains…)
The final Plato’s Cave show on Triple R for 2019 heard Paul Anthony Nelson, Flick Ford and Thomas Caldwell pay tribute to the cinema of the twenty-tens with their 10 favourite films from the last 10 years.
Fellow spelunker Sally Christie and I were not on-air for this salubrious occasion; however, we still submitted our lists for the tally, which our co-hosts then ably presented in our absence.
Here’s what I chose (in alphabetical order)…
ARRIVAL (2016) Profoundly original science fiction that rivals Close Encounters in the immensity of its concept and its cinematic clout. Big, beautiful, moving, important. And it even creates its own language.
DOGTOOTH (2010) Released on the cusp of 2009/2010,this deserves inclusion on the ‘best film’ lists of both decades. At once horrifying and hilarious, with an unforgettable psychopath and an equally unforgettable dance sequence. And it even creates its own language.
DRIVE (2011) The action film you get when you’re not getting an action film. Brilliant in its infuriatingly protracted moments of silence (and long, lingering looks), punctuated with explosive scenes of violence. Also features the best opening sequence of the decade.
DUKE OF BURGUNDY (2014) Writer-director Peter Strickland’s genius climaxes in this velvety, ’70s Euro dive into butterflies, lesbianism and dom-sub fantasy. Super seductive, visually sumptuous and strikingly unique.
ELLE (2016) Utterly audacious in its depiction of sexual fetishism. It’s still hard to believe Paul Verhoeven and his team ‘got away with’ this film. But we’re oh-so lucky they did. All hail Isabelle Huppert – the most fearless actor on the planet!
GET OUT (2017) Proof that horror is still one of the most important film genres. A game-changer in social commentary that had something new to say about liberalism and race relations. For that it deserves inclusion.
LA LA LAND (2016) The revival of the musical? Maybe not, but still proof that cynicism in a cynical age can be powerfully undermined, screen magic is still possible and there’s nothing better than a love story well-told.
MELANCHOLIA (2011) Just when you want to hate Lars Von Trier, he comes up with this apocalyptic masterstroke. Impressively vivid and spine-tingling, brought to life by stratospheric performances from Kirsten Dunst and Charlotte Gainsbourg.
THE SHAPE OF WATER (2017) A valentine to mid-20th century American popular culture that bursts with sweetness, despite its flagrant sexuality. Finally, a heroine that does not need saving, a beast that is brutally sexy, and a film that is truly beautiful.
WHIPLASH (2014) Damien La La Land Chazelle’s second inclusion on my list, a high voltage ride into jazz drumming and bullying that plays like an action film. Tense, tight and punchy. Gets my vote for the best finale of the decade.