Sunday 30 October 2011

Derren Brown - The Experiments

This review can also be found on Step2Inspire.

I have always been fascinated by the mind. When I was at college, one of the subjects I studied was Psychology, not for any psychiatric application but out of sheer curiosity. I wanted to know what made people tick, how their behaviours changed depending on their circumstances, and even how they could be influenced by the power of suggestion. I occasionally conducted a series of experiments on fellow students – some of which they were aware of, signing a consent form etc, and others were merely the unwitting participants in this student's twisted game... (Not really, it was more a covert observational study of social dynamics between groups).

Of course, as one of my other subjects was Philosophy, it lead to many a sleepless night trying to determine whether I were a free and autonomous individual or just a part of some hive mind consciousness perceiving itself subjectively. I have still to reach a conclusion on that one.

Anyway, last week, Derren Brown returned to our screens in his newest series of televised mentalism The Experiments. The first instalment of these experiments showed the process by which an unknowing participant can be conditioned into becoming a highly skilled, albeit unaware, assassin. Brown's ability to programme his unsuspecting volunteer to shoot and kill Stephen Fry was startlingly simple, remotely worrying, even, seeing as the subject had absolutely no idea he had been conditioned, let alone that he even committed the act. Fry's assassination was wonderfully set up, taking place at one of his live shows from about this time last year, and rigged to perfectly replicate an actual assassination. The participant was completely unaware he was about to 'assassinate' Fry, and the audience were not informed of what was about to transpire. This being so, I am concerned that the reactions garnered from Fry's 'assassination' ranged from a widened eye to a gasp... No one thought to run to Fry's aid, or see if they could accost his assailant?! Heartless monsters.

The point of this experiement was to prove that it is hypothetically possible to programme an innocent person into becoming an assassin. This brings a little bit of credence to the conspiracy theories surrounding the death of Robert Kennedy and his assassin, Sirhan Sirhan... Is it possible Sirhan had been hypnotised into shooting Kennedy?

This week, Brown's second experiment looked into deindividuation, a kind of mob mentality that occurs when an individual becomes part of a faceless crowd. Under the guise of a gameshow in which the audience gets to decide the fate of one victim, Chris, Brown's experiment demonstrated how easy it was to fall into the trap of deindividuation. The principle of the show was simple; throughout the evening, the audience was given the ability to choose one of two options that would affect their unknowing victim's night. One option had a positive outcome, and it's alternative much less so. The choices became more pronounced as the show continued, starting with the simple choice of either having someone flirt with Chris or have him be accused of pinching a girl's arse and having to face her angry boyfriend, to being crowned 5000th customer at a shop or accused (and arrested for) shop-lifting. However, with each choice the majority of the audience continued to vote for the more negative and malicious options...

The audience began to become more mob-like as the show proceeded, finding all of Chris's misfortunes hysterically funny. Having had Chris falsely accused and arrested for shop-lifting, one of his colleagues call to tell him he was going to be fired, and electing to have him kidnapped and taken to an abandoned warehouse rather than receive a cash prize and bring an end to his living nightmare, the audience still felt the need to inflict misery and began to jeer for the producer in Chris's apartment to smash the television (which then, much to the audience's amusement, happened). I felt disheartened to see such wanton destruction at the behest of the audience's whim, as they took pleasure in this man's misfortunes which they had essentially scripted, but then something happened...

In the final sequence, Chris attempts to flee from his kidnappers, all the while the audience cheering and laughing, when suddenly he is hit by a car (although he's not really, it's a stuntman in a pre-filmed piece, but the audience don't know that), and a stillness descends upon the entire audience. They sit there, stunned and silent, no longer laughing as they had been mere moments before when their poor victim was trying to escape his assailants. It was as if they'd been slapped and had a glass of ice cold water thrown in their faces simultaneously. A wave of collective concern and shame, like a wake-up call after what had been – to them, at least – harmless fun. When debriefed, and informed that they had been a part of an experiment, there was not a single face that didn't seem to be in a state of shock, not just because of what they'd seen, but due to the realisation of how quickly they descended into that mob mentality. I just hope that they, and Chris, had access to a full debrief after the recording in case of lasting trauma (as research ethics dictates)!

The Gameshow indicated how easy it was to experience deindividuation. The mix of anonymity and crowd mentality can induce particularly unpleasant behaviour – it's this very effect that influences people to become internet trolls or gang members. It's also a behaviour that was exhibited in the Stanford Prison Experiment of 1971 conducted by Philip Zimbardo, in which a selection of normal pedestrians were randomly allocated the roles of prisoners and wardens, and left to their own devices for an extended period in a prison-like environment. The experiment was cut short when, given their position of superiority and power, the wardens severely abused the prisoners, even though a week previously there had been no difference between these people.

It's these kind of elements of psychology that intrigue me. For all it's complexities, the human mind is remarkably simple too, making us do things we would not otherwise do simply because we become part of a crowd. I personally do not believe I would be capable of the cruelty exhibited by the audience in the Gameshow, I would certainly not like to think I was, but there's a part of me that wonders; “would these people have felt this way beforehand too? How many of them, if they had been viewing it from the outside as I had, would not believe they'd be capable of such behaviour?”

Derren Brown's mastery and understanding of the mind is staggering, and I have always found myself in awe and envy of his magnificent displays of mentalism. With two further experiments, one on convincing someone to admit to a crime they didn't commit and the other on the secret of luck, Brown's latest series delves deep into the nature of the human mind. And I, for one, love it!

All of Derren Brown's Experiments can be found on 4OD here.

There's also a section on the Channel 4 website that provides a brief synopsis of other experiments and facts that are pertinent to Derren Brown's Gameshow, including a study of obedience by Stanley Milgram which is worded far more concisely than I could manage! It's definitely worth a read: Delving Deeper – The Gameshow.

Sunday 16 October 2011

Entertainment Media Show: An Interview with Dan Shor

This interview can also be found on Step2Inspire.

As an actor, writer, director and teacher with a career spanning over thirty years, Dan Shor is certainly a veteran of the media industry. Having featured in one of my all-time favourite films, Bill and Ted's Excellent Adventure, as Billy the Kid, I was looking forward to talking with him about his experiences in the movie, as well as his current career as a producer.

BJ: Hello, Dan Shor! You having a good weekend?

DS: Oh, yeah! What is that?!

BJ: Sorry, yeah, I'm recording!

DS: It looks like a laser gun or something!

BJ: It's the new model phaser; the iPod nano of Starfleet weaponry!

DS: Yeah, that's what it looks like! Anyway, yeah, it's a very good weekend. I didn't sleep last night, so, I'm like dizzy man. Literally the whole world is spinning.

BJ: Did you arrive in the UK recently then?

DS: I've been here three days, and I'll be here three more days, that's it.

BJ: Probably still a bit jet-lagged then!

DS: I'm quite a bit jet-lagged! Also, beer. But it should be gone, it should be out of my system! You never know...

BJ: Hmm, a good mix! You're well known for playing Ram in the original Tron, and of course Billy the Kid in Bill and Ted's Excellent Adventure, and yesterday you and Jane Wiedlin held a Q&A on the latter. Did you do much preparation for your role in Bill and Ted?

DS: When I initially auditioned for Bill and Ted, I did that generic cowboy act. But when I got the part I went back and studied Billy the Kid, read up on all his history. The guy was a syphilitic lunatic! So when I turned up on the first day of shooting, I started to twitch and do all this weird stuff, and they shouted “cut that shit out! Do it like you did in the audition when you played Generic Cowboy Number 1. I want you to play Generic Cowboy Number 1.” Ok...

BJ: After all that work!

DS: Yeah! I worked my butt off for that! And then of course we're rammed into this phone box...

BJ: And they actually used a real phone booth didn't they?

DS: It was an actual British phone booth. It was just a normal sized phone booth, and you all get in. Do you know how long it takes to light any scene?! They shoved all these actors into a phone booth, and they squashed us all in at the back and put Keanu and Alex in the front. We're all like “I can't breathe! Abe Lincoln get the f-”. The next day they figured that they didn't have to squash Jane in because you couldn't see her, so she escaped it!

BJ: Ha, sounds like an experience and a half! Yesterday you also mentioned your production company, ShodaVision. Obviously you started out as an actor, so how did the production company come about?

DS: I left the United States and moved to the South Pacific and to Asia for seven years. During that time, I became a video director for visitor channels on four different Mariana islands, and did exposes and documentaries on the island culture, history, music, dance and sports, and became a documentarian. I then created my own soap opera, then created commercials that played around the world, then did a reality television series that I hosted and wrote in the Philippines, and all that knowledge, when I came back to the States, I used to create my own production company. I now shoot music videos, web stream videos for major power companies on the east coast of the United States and their energy saving programs.

BJ: That's an impressive amount of stuff!

DS: I've started a whole new career out of the sea, literally, and I still plan to act, but it's few and far between when I wait for people to ask me.

BJ: Have you got any projects your currently working on?

DS: Yeah, I just finished some. I've got seven web streams that are going to be airing on the web for major power companies, and I will be doing many many more. I'm lining up close to thirty-one, and that's going to happen in the next six months.

BJ: Blimey!

DS: That's all that I know of right now. I never know what's going to happen, actually, I just hope, you know.

BJ: Yeah, that's the nature of this industry!

DS: Especially when you're a freelancer. When you're a freelancer, you freelance! My daughter wants me to get a job, I want me to get a job! But, doing what I do.

BJ: That is a perk of being freelance – you can get on and do the work you want to do. But unfortunately it's also quite insecure when it comes to getting that work...

DS: Yeah, it's very insecure! You have many many many days that you can't explain to your child. “Dad, why are you still asleep?” Because I can!

BJ: Ha, both a blessing and a curse! Well, thank you for your time, it was a pleasure meeting you. Best of luck with the web streams, and all your future endeavours!

DS: Thank you, you too.

For more information on Dan Shor's production company, check out his website at www.shodavision.com

Friday 14 October 2011

Entertainment Media Show: An Interview with Jane Wiedlin


This interview can also be found on Step2Inspire.

Having featured in a number of films, including Bill and Ted's Excellent Adventure in the role of Joan of Arc, founded punk rock/New Wave band The Go-Go's with Belinda Carlisle, and currently working on her own comic book series alongside writing a couple of musicals, Jane Wiedlin is indeed a woman of many talents. As I had attended the Bill and Ted Q&A the previous day, I intended to talk to her about her upcoming projects as well as her work supporting animal charities...


BJ: Hello. How's it going?

JW: It's going fine, how are you?


BJ: I'm well! Do you attend these kind of conventions often?

JW: I do fairly regularly, but this is my first one overseas, normally I just do them in the United States.


BJ: Ah right, and have you had a good reception here in the UK?

JW: Pretty good. I'm surprised how many people are fans of the movie Bill and Ted's Excellent Adventure.


BJ: It's a classic! Quite a lot of people are really into it, for something that was initially shelved for several years.

JW: Yeah, when it first came over here it didn't do that well, but it's just gotten more and more popular. I guess because it gets shown on TV a lot.


BJ: It's especially popular around holiday periods. Did you do any preparation for the role of Joan of Arc?

JW: I actually practised a bunch of French, and they didn't have lines for me but they said to just come up with a bunch of French lines. A few years later, somehow my vocals disappeared and they got somebody who could speak French to do her lines. So when you hear Joan of Arc talking, it's not actually me. Probably my French was really atrocious.


BJ: And I read recently that you're quite the animal activist?

JW: Yes, I love the animals.


BJ: Have you done anything recently for companies like PETA?

JW: Not so much for PETA, but I live San Francisco and do a lot of work for two local charities called RocketDog and MuttVille, so I do a lot of fund-raising for them.


BJ: Have you always been a supporter of animal charities?

JW: I have been all my adult life, I think someone needs to be the voice for them. Over the years I've been involved with lots of different groups, and over the past decade or so I've been getting more involved with smaller and smaller groups because the really grass-roots groups are the ones that really get a lot done and get the most bang for their buck. With MuttVille and RocketDog, they grab dogs out of the animal shelters before they get put to sleep and they give them time to find the right homes for them. I just think animals are very special, in particular dogs.


BJ: I guess you're a dog-owner yourself then?

JW: I live in a six dog household. I'm practically crazy dog lady!


BJ: Haha, splendid! My mother's crazy cat lady, so you kind of have a kindred spirit there! And finally, have you got any work coming up, film-wise, music-wise or...


DS: Hello!


BJ: Or being interrupted by Dan Shor! Marvellous.

JW: Ha! Um, gosh, I've got quite a lot coming up. I did three films last year that are all coming out in the next few months, independent movies. One's called Casserole Club, one's called I Want To Get Married, and the other's called Doggie Boogie. And I just finished a tour with The Go-Go's, and I've been writing a comic book, called Lady Robotika, issue three is coming out soon. I'm working on a couple of musicals... Yeah, I'm busy!


BJ: Sounds like you've got a lot going on! Anyway, thank you for your time, it was a pleasure meeting you.

JW: Yeah, you too. See ya.

For all the latest from Wiedlin HQ, visit her website at www.janewiedlin.com.

Wednesday 12 October 2011

Entertainment Media Show: An Interview with Ian McNeice

This interview can also be found on Step2Inspire.

Known for his portrayal of Winston Churchill in the recent episodes of Doctor Who, Baron Harkonnen in the 2000 miniseries of Dune, and Bert Large in Doc Martin, Ian McNeice boasts an impressive repertoire of roles in film, television and theatre. Having been a fan of his work for quite some time, I went to interview the man who had played the sinister Baron Harkonnen in the television adaptation of one of my favourite series of books...

BJ: Hello, Mister McNeice! How's it going?

IM: It's going well. How are you?

BJ: I'm well. How're you finding the weekend?

IM: Yes, I'm enjoying it! People are awfully nice, aren't they? Had quite a turn out at the talk yesterday.

BJ: Ah splendid! I was just wondering if you'd mind doing a quick interview?

IM: Not at all.

BJ: OK. So last night you returned to Doctor Who in the role of Winston Churchill (marvellous, by the way). How did you prepare for the role?

IM: Well I was fortunate enough to have played Winston Churchill before at the National Theatre. I'd actually been in a production of Never So Good by Howard Brenton about the life and times of Harold Macmillan, and Jeremy Irons had played Macmillan, and I'd played Winston Churchill. And I think, probably, either the producers or the casting director of Doctor Who had maybe seen that performance because that's how I think I got the job.

I'd already researched the role of Winston Churchill quite heavily for the theatre role, so I knew quite a lot about him, including watching a lot of the movies that he'd been in, a lot of the TV shows. Robert Hardy had done him on television as had Albert Finney in The Gathering Storm, so I'd done all those. I'd also got a lot of the CDs of his speeches. In fact, I actually went to his grave, during the winter, it was about 5 o'clock at night and his grave was extraordinary. It was near Blenheim Palace, where he was born, it was in the village just outside. And the night that I went to his grave, there was this mist that appeared over his grave stone, as dark as the ace of spades, and suddenly I heard this whisper coming up from the grave saying; “Don't fuck it up boy!”

BJ: I have a sneaking suspicion you may be making that bit up, but there we go!

IM: Well...

BJ: Keep buggering on, hey.

IM: KBO.

BJ: Obviously you're also well known for your role in Dune as Baron Harkonnen.

IM: Oh, now that was fantastic, yes. I'd seen the movie with Sting, as I think everybody had, and was desperate to play the part of the Baron because he gets to fly! I was really interested to know how they were going to fly me, but I got the role - delighted to get the role - and I kept emailing them asking how they were going to fly me. I knew from speaking to various people that going up with wires was really – especially for a heavy guy – very painful. They wouldn't email me back.

We shot it in Prague, so on the first day of rehearsal in Prague I said “how are you going to fly me?” I walked onto the stage and saw this contraption, which was like a see-saw with weights on one side and a bicycle seat on the other. They asked me to sit on the bicycle seat, and so I did, and they counter-levered me up high into the room where I was sitting down. I was fine, and it seemed to be quite comfortable, or so I thought. So I went back the next day, and they'd removed the bicycle seat and replaced it with what can only be described as a racing bicycle seat. Apparently I looked like I was sitting, so they made me straddle this thing, and that was even more painful than I could ever have imagined. Really tricky stuff.

Anyway, we put some kind of contraption on my legs so I could stand, and in the end it was a lot less painful.

BJ: And that series was cut quite short, after Children of Dune, but if they were to come back and make some of the later books, would you consider returning in the role of Harkonnen?

IM: Oh, I had a ball playing the Baron. I think the director, John Harrison, who wrote it as well, had put it into rhyming couplets, and I think with my Shakespeare background he quite liked that idea. I'd love to go back and revisit the Baron, I think there's still fun and games to be had with him.

BJ: And with the new books, the Baron returns from the grave as a Ghola. Have you always been a fan of the books, and have you read the newer publications?

IM: Oh, I haven't read the new ones, I'm fascinated! In the new books he's returning?

BJ: Yeah.

IM: By the same author too?

BJ: No, it's by his son, Brian Herbert, and Kevin J. Anderson.

IM: Oh, by his son, of course... I think I read somewhere that there's going to be another Dune movie, so that might be what they're going to do. Perhaps the new Dune movie on the new Dune books. I don't know.

BJ: If they're producing a new Dune, they'd be mad not to cast you as the Baron! And you mentioned you have a lot of theatre experience too. Have you got anything either theatrically or on TV in the pipelines at the moment?

IM: Yes, I've just finished a Charles Dickens adaptation, The Mystery of Edwin Drood, which is going to come out on New Years Day, over two nights on BBC Two. I'm just in rehearsals at the moment for an independent movie, called Nativity 2, which is a sequel to the previous Nativity, in which I play the father of an unknown actor called David Tennant. Is it David Tennant? He'd be in some Doctor Who or something or another...

BJ: Name rings a bell...

IM: I don't know. He seemed an awfully nice guy. Scottish, in some way!

BJ: I'll be keeping an eye out for those! Thank you for your time, it's been a pleasure.

IM: Yes, thank you. Keep buggering on!

BJ: Keep buggering on!

Sunday 9 October 2011

Raindance Film Festival: On Tender Hooks

This review can also be found on Step2Inspire.


The act of human suspension is relatively simple; take one man, several meat hooks, and a winch. Pierce the subject's flesh with meat hooks, the kind with which your local butcher probably hoists his prize hog, and winch the subject up using said hooks. Et voilĂ ! One suspended human.

On Tender Hooks follows the story of Damien, an actor and freak-show performer whose talents include glass eating, fire breathing and hammering a nail into his nose (which makes for one hell of a CV!), on his first human suspension. Being quite well acquainted with such curious art forms, Damien felt the need to confront human suspension head on.

Although the idea of being suspended by a series of meat hooks sounds like a concept for a torture sequence in a rather sadistic horror, On Tender Hooks is one of the many documentary shorts (as in short documentaries, not the kind of thing David Attenborough might wear on holiday) shown at Raindance Film Festival. Filmed, produced and edited by Kate Shenton, On Tender Hooks provides a brief glimpse into the world of human suspension, documenting Damien's preparation and, ultimately, suspension. Shenton's guerilla, fly-on-the-wall style documentary captures a real and natural-feeling insight into this hitherto unseen world that, on the surface, seems relatively twisted. However, Shenton aims to show the more human and 'cuddly' side of suspension, the people involved and it's link to spiritual connotations.

Whilst it may not be everybody's cup of tea (and certainly, I'd find a cup of tea immeasurably preferable to being hung from hooks, but hey; I'm like that!), some claim that it is in fact quite a 'peaceful' experience, a form of natural adrenaline high, and a way of demonstrating that we are more than just our bodies; a literal case of mind over matter. I don't think this was quite what Descartes had in mind when he wrote his views on the mind/body dichotomy, but it's intriguing nonetheless!

Having been completely independently funded and produced, On Tender Hooks is a remarkable piece of cinematography, and with the view to make a feature length piece on suspension, as well as embarking on her own hook-based experience, Shenton has well and truly invested herself into this project. Whilst I may not be too enamoured on the idea of hooks being shoved into one's person, I am interested to see where this project goes and admire both she and Damien for their spirit in this brilliantly mad endeavour!

Saturday 8 October 2011

Entertainment Media Show: An Interview with Joe Flanigan

This interview can also be found on Step2Inspire.

Having been a fan of Stargate SG1 since about the age of 12, and of the subsequent and highly popular spin-off series Stargate Atlantis, I couldn't pass up the opportunity to talk with Joe Flanigan. Starring in Stargate Atlantis as Lt. Colonel John Sheppard, Flanigan is deeply ingrained in the Stargate legacy, having been on the show since it's inception in 2004 to it's (untimely) cancellation in 2009.

Once the queues had subsided and it seemed like we were in with the chance to chat with Joe Flanigan, Josh and I made our way to the table to meet the man who throughout my mid-to-late teens had played the dry-humoured Colonel...

BJ: Joe Flanigan! How's it going?

JF: Good! Good good good good. How're you guys?


BJ: We're good, thanks. I was just wondering whether you'd mind sharing a few words about Stargate?

JF: Yeah of course, go ahead.


BJ: Ok, well, obviously a lot of people were incredibly disappointed when Atlantis was cancelled after the Stargate franchise had been one of the longest running SciFi shows on the air. Did you feel it ended at the right time?

JF: Oh no, the show definitely ended too early. Without a doubt. It could have gone for another five years. It was a strange set of circumstances, and it has to do with the decline of the DVD market, which is partly responsible. The producers were getting anxious about all sorts of different issues. In any normal set of circumstances, we would have kept going, but the circumstances were not normal, so we were cancelled essentially to be replaced by what they thought of as a newer, fresher show that they could make more money off of, which is of course Stargate Universe. But unfortunately, their plans went quite horribly awry, and they actually ended up losing quite a bit of money. And our show, really, you know, it got cut off too early.

BJ: Yeah, especially as you said in your talk about Vegas (bloody loved that episode!); it was really taking the show in a new, fresh direction, but then it got cancelled.

JF: It was the penultimate episode, and we shot that knowing the show was going to be cancelled. It was always kind of a little bit of a tragedy, I was always like “aaah, that's a shame, this is such a great episode, too bad we didn't do this three or four years ago.” So, that's the way it goes, in TV land.

BJ: And sadly it was replaced with Stargate Universe. It's a shame that Universe didn't quite match up to the calibre of shows like SG1 or Atlantis...

JF: Well, it wasn't really trying to be SG1 or Atlantis, it was really trying to be Battlestar.

BJ: Yeah, they attempted to blend the two, which could have worked, but I didn't feel it was that successful.

JF: It could possibly have worked, but it would have to be under different helmsman-ship. The strength of Stargate was the sort of self-deprecating, wink of the eye, adventurous quality that we had. Not in anyway great pretence of sending messages and having intense drama, that was not really... I think the strength of Stargate. You know, they took what was successful, and they changed it, like when they made a new formula for Coke. They all ran back to the original formula, they realised it was wrong, so maybe they'll do that. Who knows, we'll see what happens.

BJ: Fingers crossed! There was word of an Atlantis movie, but nothing's been said about that since about 2009? 

JF: Yeah, the studio, MGM, has been suffering, it went bankrupt, I mean there were so many problems. So, we are largely a victim of their problems, and their problems are significant. If they had been Warner Brothers or Sony it would have been entirely possible we would have kept going. MGM was just a mess, and they're reorganising and... But I'm sure they'll become successful again in the near future, but right now it's just a matter of cleaning up the mess. They lost a lot of money.

BJ: If you could go on to do an Atlantis movie, would you?

JF: Oh yeah, absolutely! Provided we could get all of our group back together.

BJ: Yeah, if you could get the entire cast back...

JF: If they couldn't get everybody back together, it's questionable, but yeah, no, absolutely. That'd also be weird if there were new people doing it, it wouldn't be the same. Although, you'd be surprised what Hollywood will do to save a bit of money! “We'll take Laurel out, and Hardy out, and it'll be called Laurel and Hardy with different people!” You know, they'll do that.

BJ: “Sod David Hewlett, we don't need him! Nor that Flanigan fellow!” Nah, wouldn't work!

JF: Maybe they'll do an SG1 movie, or a Universe... I don't think they'll do a Universe movie. It wouldn't have the audience for it.

BJ: It really didn't take off and keep the spirit of Stargate alive as much as I'd hoped.

JF: It didn't. I also think that they really upset the fan-base. You've got a real loyal fan-base that's been nothing but supportive, generous and instead they go “oh, we don't need that fan-base any more, we're looking for a younger, hipper, cooler audience. If you don't like it don't watch it. We're going in a new direction and don't need our pre-existing fans.” Which is a really, really reckless approach, and it had very disastrous consequences as a result. The fans have not really forgiven that.

BJ: At the end of the day, a franchise is supported mostly by it's fan-base. The cast can be fantastic, have some great scripts and all the money in the world, but it'll be the fan-base that makes or breaks it.

JF: Absolutely. Assuming the fan-base... Well yes and no. Assuming the fan-base watches the show when they are needed to watch the show and buy the DVDs. If the fan-base is massive but they download everything, that show will disappear also. You need money to make a show, if your revenue streams are drying up and people are taking things for free, there's no way to make quality programming. It's one of those things.

BJ: Yeah... And are you currently working on any new projects?

JF: Oh yeah. Look at that. [He lifts his right arm, pointing to a swollen elbow.] I've just finished a film with Jean-Claude Van Damme (Six Bullets), and I play ex-Mixed Martial Artist world champion, and I had a tattoo that ran from here [points to shoulder] all the way down to here [points to wrist], a scar here and another scar here [points to cheek and eye brow]. When I came back from work and into the hotel, people would actually get out of the elevator. They were scared of me! And I was like “hey, this is kinda fun... Oh, you're restaurant is crowded, there's no tables available? Watch.” So it was interesting. We did a lot of stunts, and it still kind of hurts, but it was a lot of fun.

In case you were wondering why my elbow looked like it had a giant tumour; I hit it. Actually, somebody else hit it, it's somebody else's fault! With a machine gun. It was shot in Romania, and the rules of stunts in Romania are a lot looser... “Alright, we blow things up.” Yeah, great, what're you using? “We use dynamite, that's how you blow things up.” They do actually use dynamite – they're a lot looser with the rules, so you gotta be careful.

JH: We've got to wrap things up now.

BJ: Oh, blimey...

JF: Oh, right, I just gotta sign this, sorry.

BJ: Thank you for your time, it was a pleasure meeting you.

JF: Yeah, you too. Take care.

Joe Flanigan's latest film, Six Bullets, is due for release some time in 2012, and he also recently guest starred in the season four premier of Fringe; Neither Here nor There.

Tuesday 4 October 2011

Entertainment Media Show: An Overview

This article can also be found on Step2Inspire.

On the 1st and 2nd of October, London's Earls Court played host to a wide array of guests from film and television at this year's Entertainment Media Show. Much like London Film and Comic Con earlier in the year, the event's range of talks, Q&As and photo sessions with the stars draws thousands of visitors annually. Armed with press pass in one hand and a dictaphone in the other, I took to EMS to attend the talks and chat with a few of the guests...

First and foremost, it was hot. Ludicrously so. Being crammed onto the second floor of the conference hall in the ridiculously unwelcome return of summer heat was not a situation I would describe as pleasant. Even I, who vainly and stubbornly always wears a jacket no matter the weather, was forced to sling my fashionable attire over my shoulder due to the unprecedented heat... Christ knows how some of the Cosplayers survived in their elaborate attire!

Saturday was primarily Q&A day, featuring guests from Bill and Ted, Star Wars and Doctor Who. Starting the day were Dan Shor and Jane Wiedlin (Billy the Kid and Joan of Arc in Bill and Ted's Excellent Adventure) talking about their experiences on Bill and Ted, and their own excellent adventures since the film. Shor is currently president of ShodaVision, a production company which started when Shor went on a sojourn to the South Pacific in 2003 – since then, he has gone on to produce documentaries, television series, music videos and video streams. Wiedlin has recently acted in Doggie Boogie, The Casserole Club and I Want To Get Married, has released the third issue of her comic book series, Lady Robotika, has just finished a tour with The Go-Go's, the band that she and Belinda Carlisle started in '78, and has also written a couple of musicals. Alex Winter had also been Bill-ed (see what I did there?!) for the event, but unfortunately he was unable to attend due to other commitments.

Next up was a Q&A with Ian McNeice and Albert Welling, both of whom recently appeared in Doctor Who as Winston Churchill and Adolf Hitler respectively. McNeice had had previous experience performing as Churchill in Howard Brenton's Never So Good at the National Theatre, but was absolutely thrilled to be portraying the renowned Prime Minster on Doctor Who. Welling had previously played Erwin Rommel in D-Day, and upon being cast as Hitler in Let's Kill Hitler, his first thought was simply “this is the highest ranking Nazi I could ever get!” At the age of 14, Welling had been visiting some relatives in Germany when, for the first time since the war, one of Adolf Hitler's speeches was broadcast. Watching the speech from beginning to end, unable to understand a word of what was being said, Welling witnessed the power of Hitler's oratory, and drew on his feelings from that experience to portray the role in Doctor Who.

Later on, Eve Myles (known for playing Gwen Cooper in Torchwood) spoke about her experiences on the show, it's move to the States in Miracle Day, and how she finds it a constant fear and a joy to portray Gwen. “Every time I put those leathers on and those guns come out of my arse pocket, I am nervous as hell. And as soon as that stops, it's time for me to do another period drama! I will do it as long as people want to see me do it. And I love Gwen Cooper, she is the most extraordinary, complex, flawed beautiful character I have ever had the privilege of playing.”

On both Saturday and Sunday, a small panel of Doctor Who guests held Q&As on the series just passed, Saturday's line-up being Nina Toussaint-White (Mels, Let's Kill Hitler) and Arthur Darvill (Rory), and Sunday featuring Frances Barber (Madame Kovarian) and Georgia Moffet (Jenny, The Doctor's Daughter), with Caitlin Blackwood (Young Amelia Pond) in attendance for both days. Highlights from these Q&As included: Toussaint-White would love to return as Mels if the opportunity presented itself; Darvill has started collecting taxidermy, and really wants a stuffed owl; Moffet has a deathly phobia of fish, and as the daughter of Peter Davison and being engaged to David Tennant, she's the first person to be both the wife and daughter of the Doctor, albeit in different incarnations; Blackwood has never tried fish fingers and custard, and is rather adamant she never will; and Frances Barber can silence a room just by uttering “an impossible astronaut will rise from the deep, and strike the Time Lord dead.”

On the Sunday, I was joined by my friend and colleague Josh Harris and his flat mates. Having recorded the previous day's talks, Sunday was to be more focussed on brief one-to-one interviews with the guests. Unfortunately, some of the guests (not least David Tennant) were consistently inundated with autographing and photo shoot sessions, so getting a chance to speak with them was near-on impossible. We were able to chat with Dan Shor, Jane Wiedlin, Ian McNeice, Joe Flanigan (Lt. Colonel Sheppard, Stargate Atlantis), and Paul McGann ('I' in Withnail & I, and the Doctor in the 1996 Doctor Who TV-film). I had also fervently attempted to talk with Arthur Darvill regarding his potential return to Doctor Who, and his recent work in the Globe theatre's production of Doctor Faustus, but due to his popularity I sadly was unable to grab a few minutes with him.

Overall, the weekend was mad, packed, and thoroughly enjoyable! There was far too much there to cover in just a single article, and more will be coming soon. With approximately eight hours of audio recorded, run-downs of a number of the Q&As and transcriptions of some of the interviews will be online sometime soon, so keep an eye out for them!

Sunday 2 October 2011

Doctor Who - The Wedding Of River Song Review

This review can also be found on Step2Inspire.

Something has happened to time... Pterodactyls are attacking small children, Winston Churchill is heralded as Caesar, and Charles Dickens is promoting his new book on BBC Breakfast. On the 22nd of April 2011 at 5.02pm, everything that has ever happened and ever will, is happening all at once. In The Wedding of River Song, Steven Moffat's grand finale brings things full circle, ending the series perfectly, but leaves many threads still hanging.

This moment has been coming a long time, and as it's a fixed point in time, maybe it's always been coming; the death of the Doctor. Having put it off for almost 200 years, touring the Universe bidding everyone one last goodbye, the Doctor knows his time is fast approaching and goes searching for an answer as to why he must die. Tracking down members of the order of the Silence, the Doctor follows a trail of contacts to take him to the man who may just tell him why.

"On the fields of Trenzalor, at the fall of the eleventh, when no living creature could speak falsely or fail to answer, a question will be asked. A question which must never ever be answered..."

Meanwhile, in a distorted time-line, all of history is happening at once. The clocks are still, the past and the future are the present, and for some reason this means that cars are borne aloft by hot air balloons. In this bizarre other-world, the Doctor is regarded as a soothsayer – albeit a dangerous one – as he is apparently the only one who knows why this is happening, and how it can be fixed. At Area 52, which just so happens to be a pyramid on a train line, both the cause of the problem and it's solution can be found. But a sinister foe lies in wait...

As the finale of the series, The Wedding of River Song promised to be monumental, bizarre, captivating, and timey-wimey. All those boxes were indeed ticked (I keep a tally on those four traits, not just for Doctor Who but in general!). Flitting between the 'real' time-line and the constant-now, how this all happened begins to piece itself together, and all the metaphorical fingers point the blame towards River Song fighting pre-destiny.

Everything about the episode revolved around the Doctor's death, or rather, in the constant-now, his non-death. For all the complaints of Doctor Who being too complicated now, the solution (which some people feared was to be so convoluted that it would be comparable to attempting to divide something by zero) was actually remarkably simple, if executed in a rather clever style. As much as I love the Russell T Davies era of Doctor Who, the stories spawned from Moffat's Mind tend to play a lot more with duplicity and the concept of time travel to great effect.

Knowing that to prevent the whole of reality from falling apart he must die, and River's reluctance to kill him, the Doctor cunningly fakes his inevitable death by disguising the Teselecta as himself (the Ganger Doctor was a red herring, I guess). Only revealing this twist to River, events play out as they should, and the rest of the Universe (aside from River, and later Amy and Rory) believes the Doctor to be dead, essentially rebooting the show to it's earlier days. Moffat's vision of the Doctor as a mysterious adventurer can now take form and bury the legendary mantle of the Time Lord Victorious. Personally, I'm quite looking forward to the return to the days of the Doctor as an anonymous traveller without him being the be-all and end-all of the Universe.

Throughout the episode, Matt Smith was once again on top form, certainly cementing himself as a contender to rival Tennant and Baker as one of the greatest and most iconic Doctors of all time. It was also good to see Karen Gillan and Arthur Darvill return after their supposed 'farewell' at the end of The God Complex, and in a different capacity than usual. Amy's leading an operation against the Silence and to help the Doctor, able to recall events from the 'real' time-line, whilst Rory has embraced the honourable warrior within him that's been glimpsed at before in episodes like A Good Man Goes To War. Once again, this was an episode which saw the whole cast at the absolute top of their game.

And so, with only three people (and a head) aware that he's still alive, the Doctor continues on his eternal journey of exploration and adventure across time and space. But still he bears a secret, the answer to the first question, and the question that must never be answered...

Doctor Who?