Why The Academy Must Start Rewarding Stunt Work In Movies

Most of you have probably never heard of 77-year-old Terry Leonard. But with nearly 150 credits to his name, chances are you’ve seen him on screen. Well, maybe not his face. Considering the large majority of his 150 credits are for stunt work, you’ve most likely seen the high-speed car he was driving; or as the physical body on screen when the hero does something spectacular. Hell, he’s the guy playing Indiana Jones in the picture above.

But the reason I bring up Mr Leonard is that he is one of the lucky ones that has had his incredible work recognised. He won the Lifetime Achievement Award in 2003’s Taurus World Stunt Awards; an annual ceremony that is pretty much the only notable recognition stunt performers receive in America.

But for some reason the pinnacle of cinematic acknowledgement, the Academy Awards, have kept the idea of introducing an award for stunt work at arm’s length. There have been various reasons given for this over the years; ranging from the belief there are already too many Oscar awards, to the idea that stunt work isn’t an “award worthy” profession.

Quite frankly, the Academy are dead wrong. When entire movies are defined or remembered by a specific action scene, it is utterly disingenuous to then say this kind of work is not suitable to be recognised by the Academy. Remember 2017’s Atomic Blonde? Regardless of whether or not you liked it, there’s no question that film is defined by the brutal one-take hallway scene in the third act. The man who put such a breathtaking scene together is Sam Hargrave, the film’s Stunt Coordinator. But despite his incredible work still being talked about a year later, there is no public award to recognise his talent.

And yet the Academy still continue to shit upon the stunt community with the recent announcement that they are planning to introduce a new category “for outstanding achievement in popular film.” Interestingly, the Academy failed to mention how qualifying for such a category would be determined, instead stating that eligibility requirements would be revealed at a later date. Seems rather strange to be prepared to announce a new category, but not how you can qualify for it.

With the Academy desperate to reverse falling TV ratings, it’s understandable why they may have wanted to introduce an award for the masses (though they may be vastly overestimating how many people are going to stick around for a three hour ceremony just to watch one award!) Honestly, at this point I wouldn’t be surprised if the new award was announced just to make sure Black Panther won something memorable, and in turn avoid another #OscarsSoWhite disaster.

Regardless of why the Academy decided upon this new category, it is once again a reminder of how frivolously the stunt community has been treated. Quite frankly it’s insulting. These are men and women who literally put their lives on the line for our entertainment. With the possible exception of riggers and other construction workers, almost no other aspect of Hollywood does such dangerous work. And yet we’re happy to shower writers, actors, directors, musicians, production artists, makeup teams, sound designers and visual effects companies with more awards than they could probably count.

And what makes it even worse is that there are members of this overlooked community that have died and suffered long-term disabilities, all in the name of our entertainment. You only have to look at this list to see that even films as recent as Deadpool 2 have resulted in tragic losses of life. To say that these people aren’t worthy of Hollywood’s top award is both mind-boggling and contemptible.

This debate will probably continue for a while longer, but there is some hope on the horizon. The Screen Actors Guild have recognised the achievements of both movie and TV stunt work as far back as 2007. And in 2016, stunt workers held a protest outside the Beverly Hills offices of the Academy, helping to bring much needed attention to their issue. After nearly a century of death-defying work, perhaps this injustice will be corrected sooner rather than later.

Sundance, Here We Come!

For those of you that have only been following my blog for a few months, you may not be aware that I actually started this endeavour in order to promote my screenwriting work. A place where people who were interested could easily find my projects.

But my last post on the topic was all the way back in December 2016. Obviously I pivoted a little and instead pursued a more pop culture approach, reviewing movies, TV and theatre. But I didn’t give up on my screenwriting career.

So for those of you not keeping track, we shot my first short script (titled The Right Choice) just before Christmas in 2016. The original plan was to have all the editing done by the end of January. After all, it was only a 10 minute short!

Alas, days turned into weeks and weeks into months. We finally locked down our final cut in May, nearly 4 months after our original deadline.

But then came the visual effects…

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For those of you who have never had to supervise the creation of visual effects, it is honestly an art unto itself. And an expensive one too. Safe to say the original amount I had allocated for visual effects was woefully inadequate. (Fortunately our VFX Artist, Heinrich Maas, was an utter godsend.)

That’s the thing about filmmaking. There are always these little things that go wrong; and end up adding a tiny amount to the budget. As a first time producer I made sooooo many mistakes. Sometimes quite costly mistakes. But you live and learn I suppose.

Anyway, after begging, borrowing and doing the unspeakable, we finally managed to scrape together enough to see us through to the end. And in September 2017 we FINALLY finished.

Directed by Tomisin Adepeju and written/produced by yours truly; below is the trailer for The Right Choice!

It’s hard to describe the weight that lifts off your shoulders when you complete a film. I suppose it’s kind of like giving birth. You struggle for months to get the project off the ground (so to speak!); a small bit of time spent actually doing the dirty deed; and then an intense couple of months until your film finally drops.

Well, I entered the film into about 30 festivals before getting to sit back and relax. We would end up being rejected from three of them before that one fateful day finally came.

November 20th. It was four in the afternoon and I was sat in bed, stuffing my face with chocolate fingers while watching Let’s Play videos of Star Wars Battlefront II (Calm down, ladies!) My mobile phone rang and at the other end was a nice young lady by the name of Kate Metcalfe.

She asked if it was Vijay she was talking to. I confirmed and then she proceeded to inform me that The Right Choice was selected to be screened at the 2018 Sundance Film Festival!

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Sundance! The biggest and most famous film festival in the world! HOW?!?!?!?

I informed the director first. He refused to believe me. I spent a good five minutes trying to convince him! But he eventually came around. It was even his birthday the next day and he said it was the best birthday present he could have imagined!

And as the remainder of the cast and crew were informed, their reactions were all too similar. Shock, amazement, disbelief, crying and incredulity.

That last one, incredulity, was completely understandable. Deep down, I think most of us thought we had failed. Pre-production was tough, with a failed Kickstarter and crew members dropping out left, right and centre. The production itself over-ran, and we were still unable to get several shots that we wanted. And as post-production dragged on for months, it was hard not to lose faith. From Jan to Nov 2017, I honestly felt I had sunk £11k of my own money into an utterly pointless endeavour.

But getting accepted into Sundance was a validation. Someone important (or at least a group of people) were telling us: “No. You didn’t waste your time. You didn’t waste your money. You made something worth watching.”

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Of course, getting accepted into Sundance comes with its own challenges. Numerous pieces of paperwork and legal documents to fill in; as well as other financial obstacles (It cost me SIXTY-FIVE POUNDS to mail eight posters to Utah! What the hell, FedEx?!?!?)

But in the end, it seems my 22 month journey was worth it. All those sleepless nights, half a dozen times I fell sick with worry, and the constant delays led to something. I now stand on the cusp of my debut film having its world premiere at the most famous film festival in the world.

What a ride 😀 😀 😀

A Defence of Harry Styles, Popstars, and Their Cinematic Career Paths

Alright people, by now many us have seen Christopher Nolan’s new war epic, Dunkirk. While an astounding piece of cinema, I have recently met a few individuals that are refusing to see the movie. Their reason?

Because pop-sensation Harry Styles is in it.

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If you’ve read my review, you’ll have seen that I thought Mr Styles did pretty well in a movie where he was surrounded by Oscar-calibre actors. But alas, it seems that there are some that just can’t get away from the fact that Mr Styles is one fourth of the world renowned band known as One Direction.

Fortunately, the large majority of people and critics have rightly praised him for his performance. But this baffling hatred of singers popular with girls/women, who then choose to move into acting, is something that has pervaded our culture for several generations.

But guess what guys? Mr Styles is doing something that has been done by some of the most successful people in human history.

In fact, I’d even go as far as to say that Harry Styles is a modern day Frank Sinatra.

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Yeah, I went there. Come at me, bros!

“You’re dead to me!” I hear you cry.

“KILL HIM!” I hear some of you roar.

But my assertion has an element of truth to it. Of course Mr Styles is not Ol’ Blue Eyes in his later career. But when compared to the early days of Sinatra’s profession, they have a surprisingly lot in common.

When most of you think of Frank Sinatra, you’re probably thinking of the hat wearing, older, distinguished gentleman who was part of the Rat Pack.

But Sinatra, in his early years, was essentially the Harry Styles of his day.

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Taken in 1943

Sinatra kicked of his career in 1935, when he was 15, by joining the 1930s equivalent of a boyband called the 3 Flashes. While he would flirt in and out of several other bands, he would eventually go solo in 1941. And do you know who his fans were?

Almost exclusively teenage girls and young women.

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Bobby Soxers were the name given to them, mainly because of their choice of sock attire. But their dedication would sometimes go so far that, according to Janice T. Booker’s “Why the Bobby Soxers?” (2004):

… They were known to write Sinatra’s song titles on their clothing, bribe hotel maids for an opportunity to touch his bed, and accost his person in the form of stealing clothing he was wearing, most commonly his bow-tie.

In fact, Sinatra was so popular that in October 1944, when discovering they were unable to get into a New York concert of his, thousands of girls and women went nuts and had to be subdued by several dozen police officers. This eventually became known as the Columbus Day Riot.

 

But like most popstars, Sinatra’s fame started to diminish and his popularity began to sink. And you know what he did?

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That’s right, you condescending bastards! He doubled down on his acting!

From the end of WWII in 1945, Sinatra performed in nine movies, most of them musicals, with 1948’s The Miracle of the Bells being the one dramatic exception. Then finally in 1953 he did From Here to Eternity, where he wound up wining the Oscar for Best Supporting Actor.

That was the turning point. That was the moment he went from teenage idol to world renowned actor and singer. From there, of course, his stratospheric career is known to most.

But Sinatra wasn’t the only one to walk a path like this. Justin Timberlake, Zac Efron and many others have begun as youthful pop singers, beloved by millions of females, before later taking the journey into the arena of professional acting.

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Sometimes it may be a very long journey

That’s why it’s so ridiculous that there are those who chose not to take someone seriously because they are popular with women. Especially since male singers that are popular with men traditionally don’t suffer this type of treatment. Ludacris, LL Cool J, Ice Cube and David Bowie all transferred to acting with little or no backlash during their debut performances.

Unfortunately, it always seems us guys (and let’s be honest, it’s mostly us guys) feel some sort of need to shit on these male singers with a overwhelming female fandom. Why? Are we jealous? Angry? Misguided? Imbeciles? A mix of all four?

In the end though, Sinatra, Timberlake and Efron were laughing all the way to the bank with armfuls of awards. Something tells me Mr Styles will one day be laughing too.


Photo Credits: Youtube, Giphy, Birmingham Mail, Portsmouth Point, Giphy, The Today Show

Visions of Ecstasy – The Only Film Ever Banned in the UK for Blasphemy

(Author’s Note: My 100th Post! Special thanks to all the people who subscribe to my blog and have enjoyed my work over the past 7 months. Here’s to the next 100!)


From as far back as 401 A.D, when the Council of Carthage decreed that those who attended a play on a holy day would be excommunicated, religion and censorship have gone hand in hand for centuries.

As the years went by, performances of the stage would be replaced by those of cinema and eventually television. And like their artistic forefathers, screen performers would have to deal with the sometimes dictatorial views of religious leaders.

The U.K was no different in this matter as royalty and governments have banned a variety of plays and films over the past thousand or so years. But it was still quite the surprise to find out that, in the 105 years of its existence, the British Board of Film Classification (BBFC) have only ever banned one film for the crime of blasphemy.

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Directed by Nigel Wingrove, Visions of Ecstasy (VoE) is an 18 minute short released in 1989. Essentially a three-hander, it stars Louise Downie as St Teresa, Elisha Scott as St Teresa’s psyche and Dan Fox as Christ himself.

Now it would be gratifying to say that VoE was a hard hitting look at religion and its relationship with women and sexuality; thus invoking the wrath of organised religion and flying the flag for free speech…

… But no. Said 18 minutes is entirely made up of dialogue-free bondage porn with a slight tingle of lesbianism.

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However this was enough for the BBFC to fear that by allowing the film to be released as it was, they would be liable for prosecution. Specifically under the common law offence of what was then known as blasphemous libel.

To be clear, the BBFC don’t technically ban films. Rather they refuse to grant the film an official certificate (U, PG, 12, 15 and 18.) Without it, most UK cinemas and distributors won’t touch such a product as a certificate-less film is illegal to show as a public performance. Thus, for all intents and purposes it becomes banned. (Though this is a little less of an issue these days because of the rise of the internet; to which most video recording legislation doesn’t apply)

But back in 1989 the internet was in its infancy, so the refusal of classification was essentially a death knell for VoE; and the issue eventually ended up going in front of the courts. Specifically the European Court of Human Rights.

To be fair the BBFC weren’t unreasonable in their decision, especially as the last successful prosecution for blasphemy was only 12 years earlier in 1977 during the case of Whitehouse v Lemon. Even 30 years later in 2005, when the BBC decided to show Jerry Springer: The Opera, there was an attempt to bring a private blasphemy prosecution against them (which ended up being rejected.)

Now, as delightful as it is to imagine a film that was essentially soft-core porn being debated in a court designed to defend human rights, alas this was not to be.

According to a case study on the BBFC website, the actual debate was to see…

whether the existence of a law of blasphemy was consistent with the right of Freedom of Expression, guaranteed by Article 10 of the European Convention of Human Rights.

Turns out it is!

Amazingly the court thought that it was possible to have both laws co-exist as… (deep breath!)

Religious believers cannot expect to be exempt from all criticism and must tolerate the denial by others of their beliefs. However, the State has a responsibility to ensure the peaceful enjoyment of believers’ rights under Article 9 (Art. 9).

In this connection, a State may legitimately take measures against conduct which is incompatible with this provision. Such measures may include sanctioning provocative portrayals of objects of religious veneration, which portrayals may be regarded as a malicious violation of the spirit of tolerance inherent in democratic societies.

Accordingly, the Commission considers that the refusal of a classification video to the applicant was prescribed by law within the meaning of Article 10 para. 2 (Art. 10-2) of the Convention.

(You can read the entirety of the court’s decision here as a downloadable pdf.)

But as you may have noticed from the DVD cover above, VoE is now available for public consumption. This is down to the decision to abolish all legislation relating to blasphemy in the 2008 Criminal Justice and Immigration Act. The director, Nigel Wingrove, was afterwards invited by the BBFC to resubmit his film; and it was duly awarded an 18-certificate.

As such the “crime” of blasphemy has more or less faded from British view. But a mere glance at a newspaper would show that blasphemy is alive and well in many parts of the world; even for some of our closest neighbours such as Ireland.

As for VoE, there exists several copies of the film on YouTube. While adults should always have the freedom to make decisions about what they should watch, let’s just say you also have the freedom NOT to watch it! 🙂


Photo Credits: Vague Visages, Wikipedia, BFI Player,

We Need a Story to Inspire a Nation – A Look at Their Finest (2017)

The first of two Dunkirk related films to be released this year, Their Finest (adapted from the 2009 novel Their Finest Hour and a Half) is definitely one of those stereotypical period pieces that we British seem to annoyingly excel at.

To be fair though, I was always going to have a soft spot for a film about screenwriting 🙂 But how much does it offer for the average man on the street?

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Desperate to appeal to the working women of the UK during World War II, the Ministry of Information plan to create a piece of cinematic propaganda specifically designed to engage said audience.

Needing someone to write “the slop” (female dialogue), Tom Buckley (Sam Claflin) decides to hire Catrin Cole (Gemma Arterton) to help out. With has-been actor Ambrose Hilliard (Bill Nighy) in tow, they must now create a morale boosting story about the evacuation from Dunkirk.

“Harmless” is ultimately the number one word that comes to mind when trying to categorise Their Finest. With nothing particularly original or offensive, it’s arguably the cinematic equivalent of comfort food. But, like the famed Big Mac, that doesn’t mean there isn’t a little something to enjoy.

Such enjoyment predominately comes from the strength of the cast. Gemma Arterton plays a likable and engaging woman trying to face down the same challenges that have undoubtedly been faced by many women trying to take on such male dominated job.

Surrounding her are a who’s who of the British film industry, with Bill Nighy, Richard E. Grant, Jeremy Irons, Eddie Marsan and Helen McCrory all taking small, but pivotal roles. A special shout-out must also be made for Jake Lacy’s Carl Lundbeck. Playing the handsome and out-of-his-league American actor; its hard not to guffaw at his marvelous comic timing.  Together said characters not only help flesh out the world of the 1940s, but contribute greatly to the excellent chemistry between the players.

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Indeed, it’s because of such chemistry that the film zips along from scene to scene. In fact, it’s quite the impressive achievement by director Lone Scherfig as, considering the amount of time the film spends dovetailing into the minutiae of film-making, it would have been easy for it to fall into a fatigue inducing mess.

There is a somewhat predictable love triangle that adds an extra sense of foreboding to Cole’s journey, but it would have been nice if the film had the conviction to rely on our desire to see her succeed in a man’s world, rather than resort to cheap emotional baggage.


As mentioned earlier Their Finest doesn’t really offer anything new on either the WWII or the British comedy angle. Nonetheless it’s still a fun two hours to be had as it perfectly lays out the power of cinema and its incredible influence on our day to day lives.

Overall Score:

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Photo Credits: The Globe Theatrette, Tranmission Films, RTE

What Aspects of the Alien Life-Cycle and History Does Ridley Scott Still Consider Canon?

[SPOILERS FOR ALIEN: COVENANT, ALIEN, ALIENS AND PROMETHEUS]

Over the past nearly four decades, Sir Ridley Scott hasn’t given many opinions on how he perceives the various sequels to his 1979 sci-fi classic, Alien. His general position seems to be one of unconcern and apathy. Indeed in a 2012 interview with Empire, when asked if he’s seen Aliens vs. Predator, he straight up says:

“I couldn’t do that… I couldn’t quite take that step”

The one exception is James Cameron’s Aliens which, according to an illustrated screenplay of Alien, Scott said:

“There’s also no question that Cameron made an excellent film with Aliens. It really is an achievement… It’s always tough to follow a successful film with a sequel to it … It could never be as frightening [in the sequel] because you’ve already seen it. Therefore, what I think James Cameron [did with ALIENS] was a terrific action-picture. It’s difficult what he accomplished”

With the release of Alien: Covenant though, I do somewhat wonder how much of the Alien’s life-cycle established in the sequels does Ridley Scott consider canon? Admittedly in this day and age of constant re-boots, the justifications for what is or isn’t canon is somewhat arbitrary

Indeed when taking into account Prometheus, this may be a somewhat pointless question as so many new creatures and methods of procreation were introduced that Scott might just be making it up as he goes along!

But for arguments sake, lets focus on the primary life-cycle that we’ve seen in most Alien films.

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So, for the newbies to the Alien universe, we learn from a mixture of the first three Alien films:

  • The Alien Queen lays an Egg.
  • This egg contains a Facehugger, which proceeds to attach itself to a living creature (i.e. a host) in the vicinity. It plants an embryo into the host before falling off and dying.
  • Over a period of several hours (and sometimes days) the embryo grows into a Chestburster before (as you might expect!) bursting out of the chest of the host and probably killing it in the process.
  • And again, after a very short period, the Chestburster will grow into either an adult Alien or an Alien Queen, usually with some physical attributes of the creature that hosted it.

In the various sequels, books and comics this life-cycle has been stuck to pretty rigidly. But with the newest Alien film things seem to have changed slightly. So, a quick recap of the specific aspect of Alien: Covenant that intrigues me (Again, SPOILERS)

Using Engineer technology, the android known as David has been experimenting in an attempt to create the perfect organism. Through much trials and dead ends, David eventually creates the organism that we know as the Facehugger. And by letting it loose on the crew of the Covenant, he eventually gets his wish in the bloody birth of the Protomorpth; the (assumed) predecessor to the Xenomorph.

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So David, a human invention, is the one that essentially creates the monster that will eventually haunt the corridors of the Nostromo in Alien.

Now this plot-line does actually fit pretty well into what Scott and the writers of Alien, Dan O’Bannon and Ronald Shusett, had in mind for the life-cycle of the Alien. Originally the Alien didn’t just kill people. It would also capture them in order to transform them into Eggs. Unofficially it’s called “Eggmorphing,” and was a way for the writers to create a closed loop in the Alien’s life-cycle.

This wasn’t just in original script as the scene was actually shot and edited, but was removed from the final cut due to pacing. The reason it was relatively well known publicly at the time was because the scene was written into the official novelisation by Alan Dean Moore. (Said scene would also be added into Alien: Director’s Cut (2003))

Alien fan and Editor DestronTC was good enough to put a colour and sound corrected version of the scene on Youtube, which you can watch below.

So it’s not unreasonable to assume that David somehow used that Eggmorphing method in creating the few Eggs we see in Covenant. Since the above scene makes it clear that Eggmorphing can be done with dead bodies, maybe David used a few dead Engineers to proceed in his task?

So it would seem, at least on the surface, that Scott is leaning towards the original iteration of the Alien life-cycle.

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But, to go back to Aliens, when James Cameron decided to address the origins of the Alien Egg, he chose to go in a completely different (and arguably better) direction by creating the Alien Queen.

This decision wasn’t without its critics as there were some who felt that Cameron had essentially s**t on what Scott had originally intended. Amazingly, Cameron took the time to write a 2000 word response to the main criticisms of Aliens, and which was published in science-fiction magazine Starlog. (Man, the 80s were a different time!)

[The writer’s] contention is that [The Alien Queen] destroys the original intention of the missing scene in ALIEN. This is perfectly correct, but I find it somewhat irrelevant since as an audience member and as a filmmaker creating a sequel, I can really only be responsible to those elements which actually appeared in the first film and not to its “intentions.” ALIEN screenwriter Dan O’Bannon’s proposed life cycle, as completed in the unseen scene, would have been too restricting for me as a storyteller and I would assume that few fans of ALIENS would be willing to trade the final cat-fight between the moms for a point of technical accuracy that only a microscopic percentage of ALIEN fans might be aware of.

You can read the response to other criticisms here.

So I suppose the question is: Does the Alien Queen still exist in Ridley Scott’s Alien universe? If not, does that pretty much wipe out the events of Aliens and Alien 3?

(What’s that?… No, I’ve never heard of a film called Alien Resurrection…. Nope… Never heard of it.)

To be fair, the obvious way to keep Aliens and Alien 3 canon is to have David eventually create the Alien Queen as the culmination of his search for the “Perfect Specimen.” Would Ridley Scott be willing to do this? Because so far, as demonstrated by Prometheus, he seems okay with throwing out the ideas established in most of the Alien sequels.

But is it acceptable to do that to Aliens, one of the greatest sequels of all time? Would he be doing to Cameron’s film what some people in the 80s thought Cameron was doing to Scott’s original?

Or maybe we’re being too precious? After all, the nature of art is to evolve in order to meet the changing expectations of the world around us. In the same way that Bryan Singer had no qualms about overriding X-men 1 and 2 with Days of Future Past; maybe future Alien films should do more to carve out a new existence?

Either way, we’ll probarly find out somewhere in 2019 with Ridley Scott’s followup: Alien: Awakening.


Photo Credits: Xenopedia, Alien Covenant, Youtube, Wallpaper Abyss

Wow! Shot my first film, won 2 awards, shortlisted for a £15,000 grant and lost my virginity!

What a week! What… A… Week….

Man, it was super hard at some points, but I managed to push through all the obstacles in my way and do something I’ve never done before…

…  Successfully shoot a short film! (I know what you were thinking… Perverts!)

Anyway, let’s go back to the beginning. In the early hours of 9th December, I received an e-mail saying that my short sci-fi screenplay, Message through the Stars, had been shortlisted for £15,000 grant from Film London!

What an honour! I was so excited!… Then I realised they wanted to meet me in a few days.

Now usually that time period would barely faze me. But I haven’t read that script in months! And I’m literally shooting a completely different short film the next day!

So I pushed it out of my mind and, on the 10th and 11th December, a group of us went to Kings Cross, London to shoot a screenplay I wrote and produced called The Right Choice.

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You can follow us on our Facebook page here, but man, was that shoot tough! Being the first film I’d ever produced, there was one hell of a learning curve. Problems getting throw up at every turn, it honestly felt like the shoot could fall apart at any moment.

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Me, about to have a heart attack.

The only thing that could have made it worse is if I’d been directing, but thank god I decided to let someone more experienced take the role!

We ended up over running by about 2 hours on both days, which cost a pretty penny, but fortunately we managed to, as they say, “get it in the can.”

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Only a day later though, I was contacted by the contest organisers of the Reel Authors Screenplay Contest informing me that “A God Amongst Men” had placed as one of it’s Top 3 Finalists for Sci-Fi!

ARRGH! Top 3! I was so close! I had pretty high hopes for that script, especially since, back in early 2016, I managed to get it optioned for 6 months by Raindance’s production company. But alas, that didn’t lead anywhere.

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My thanks to everyone at Reel Authors who felt the script was worthy enough to place so highly!

I honestly thought that would be it on the festival front, but only a day later and another festival win landed in my inbox! This time from Fantastic Planet: Sydney Sci-Fi and Fantasy Film Festival; and the script was Message through the Stars, the very same short that’s just been shortlisted!

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My thanks to everyone at Fantastic Planet that voted for my screenplay! If anything, hopefully this screenplay win will convince Film London that my screenplay would be a good choice to give the grant to.

But I’m guessing the part you really want to read about is me losing my virginity? Well about that…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CLICKBAIT FOR THE WIN, SUCKERS!