Alarming Teenage moment

Sunday September 1st. 2013. 23:07

There was a plan this weekend for me to have Chloe to stay overnight an extra weekend. This was so that her Mother could go out for the evening. Always keen to spend more time with her, I agreed to cancel my plans for the evening and have her to stay. It's hardly a chore, and Chloe's mum deserves a night out.

The other week Chloe'd also mentioned that she'd like to have some curry, my Mum and Dad had suggested that we order some take-away and let Chloe try different types of curry. Chloe seemed really up for this.

I left work on Saturday, did some shopping. Aware that Chloe had already had a disagreement with her Mum because she had wanted to cycle all the way up to mine on her own. We'd reasoned that this wasn't particularly a good idea. She's never cycled that far on her own, and actually hasn't cycled from home to my flat at any point. It's also been a couple of years since the last time she cycled the route to my old flat (which is just down the road) - and we did that together.

After finishing work, I'd considered that one option was for her to take the bike to the train station, and meet up with me as normal. This seemed to get lost as a viable option. I'd also gone to Halfords and had a look at bikes. I've really missed having a bike this year, and although I don't need to cycle to work any more, I would really like to have one to make getting about easier, and just for the joy of it. I went into Halfords, having a look at what bikes they had. I thought that perhaps I could kill two birds with one stone. A solution being that I bought a bike, and met Chloe at some point and we cycled together back to my flat.

All of this consideration, and arrangement, the pleasant prospect of a nice family curry went for nought when I received a rather terse and dismissive text from her saying that she wasn't coming to mine and that she was staying at home. She'd decided that with it being the last weekend of the summer holidays she wanted to spend Saturday evening at home. Personally I think it had more to do with her being pissed that her Mother and I had organised between ourselves for her to stay over an extra night at mine, and that she couldn't come here in the method that she wanted to. The other possibility being that she wanted to 'punish' her mother some how for wanting to go out and have a nice evening out for a change.

As I'd gone shopping after work, I had caught a train straight from Havant, near where I work to Fratton, instead of coming home I'd gone straight into town to meet Chloe for the journey back to mine. Hanging around the train station in the last of the glorious summer sun, reading a book whilst the drama and tantrum played itself out.

Having been stood up by my daughter, I came back home, and went round my Mum and Dad's as arranged. When they didn't answer their front door bell, I assumed that they were perhaps in the garden or something. Having a key I decided to let myself in. This of course meant that I rapidly discovered they had gone out, actually to walk to the train station to meet up with me, and by entering the house had set off their burglar alarm. I was able to call them amongst the screeching of their alarm and find out what I needed to do to shut the bloody thing off.

We decided the abandon the curry idea until another time.

I decided not to heed my own advise to Chloe's mum, which was to not let Chloe's tantrum or 'teenage moment' prevent her from going out. I kept my evening free, in case she changed her mind.

She did not.

In the morning, having been burned by the unnecessary purchase of train tickets for both her and myself, I texted her to make sure which train she was getting. I got no response initially. Eventually I was informed that she would not be coming up to mine today either.

Chloe's fourteen, and old enough to decide if she does or does not want to come and see me. I was however a bit annoyed, to say the least for being mucked around in this way, and being dismissed so rudely.

Not a situation I am going to be able to convey to her by text or telephone. It would just provoke another argument, this time with me. I sent her a message saying I was here if she needed to speak to me. It's not what part of me wanted to say, but I managed to get my head to be the bit of me in charge of the typing.

This left me with a Sunday free. Which I then spent sitting around watching television, going on the internet, doing two lots of washing, watching the Stephen Brown videos we were meant to review and vacuuming the flat. I had food that I'd purchased to make roast dinner for Chloe and I, which otherwise was going to go to waste, so I cooked it anyway, and saved the rest for tomorrow.

Rock and roll eh ?

This is the review that I submitted for April 2012's edition of 'Venturer' :-

Our journey along the series of The Ninth Man continues with the third story, Ties That Bind Us. After the previous episodes I have to say I was rather looking forward to watching this, and finding out what happens to Kenny, Robert, Michelle and Lindsay.

We get off to a good start, returning as we do to the place where the previous episode left off with my good self as Reet and Chris Lovin (Ben Johnson) leaving Kenny Cooper (Alec Harkness) tied up, while we go off to engage in some intimidation. It had been raining, making my '.. and it was turning out to be such a nice day' line rather fitting. If it's one thing you can rely on in the UK, it's that at some point, it will rain.

I have to say I'm less than convinced by the 'sherbet dip' scene. Maybe I'm too used to seeing Tim playing comical characters, but I was expecting a play to the camera and some jazz hands at any moment!

The heavy boys, in the form of Ben Johnson and Will Gammon, carrying their implausibly long poles set on Jameson and Michelle, hitting the latter (Sarah Miatt) around the face with a pipe. This confrontation is lacking the pace and menace of previous such scenes in the series. James' reaction is rather flat for someone who's just seen his sister- in-law beaten round the head with a

metal pipe. Was it rehearsal, or lack of it, that killed the confidence in execution of this scene?

Fight scenes are, by their nature complicated beasts, you want to get the point across, but you also don't (really) want the actors to get hurt. There are several examples in the story of why such scenes take place, but they must be choreographed skilfully, and rehearsed over and over, to take the best of the situation, and get the best shot.

Aside from the punch sounds which I have always detested, the sound while Will and Ben walk through the warehouse is distracting. It's a well shot piece though, I do like the wandering through a poorly lit warehouse. It's not always clear

however how or why one scene links to another, which surprises me as this story was written by Jordan Howard, the architect of the series. It doesn't make sense why Will's character decides to finish the job of bludgeoning the boxer to death, but it is Ben's character, that reveals this to Jameson.

10There's a bit of me that thinks that filming Ben driving, whilst on the phone, in what I can assume is his works van is not a brilliant idea, but I think my objections aren't to do with the production. Still, nice bit of advertising for them.

The previously unconvincing attack on Sarah's character leaves an equally unconvincing lack of injury to her face. I'm pretty sure that if I was hit round the face with a six foot metal pipe I would have some sort of war wound to show for it, and It doesn't make sense why she is let go. Now, I know about other elements of the series that I have yet to review, and that there may be explanations for all these things at a later date, but rather than come off intriguing and mysterious, it just judders and jars and breaks up the previously excellent story telling I've seen in the other episodes.

I did really think though, that after chucking Sarah out of the van, that she was going to get run over as Ben reversed right next to her, but this doesn't happen. She just gets up and hobbles off.

I did like the filming of Ben through the reflection in the mirror, but again the scene felt like we were missing a step. Reet is waiting for a call, presumably from Chris (Ben Johnson)... although Reet is the one that makes the call in the end, while Chris has a weirdly cosy chat in the front of the van with Jameson. Maybe despite the duct-tape on his mouth Jameson was able to call 'shotgun'? It also doesn't make

sense either for Reet to shout at Kenny Cooper to 'get out of his place' while he's tied to a chair.

I'd forgotten that before all of this, Lindsay had been kidnapped, so when Michelle (Sarah Miatt) tells James Johnson (John Hampton) that she's just 'took off' it makes even less sense than him saying to

call the police, or that he already has, when he did and had been told there was nothing the police could do. As if things weren't confusing enough!

I have to say that Kenny's line 'the police saw him this morning, and the bits that they found were definitely not fine...' did make me laugh, but mostly the emotions I am left with after watching this story are disappointment, and confusion. The script, or at least the editing, doesn't gel together and create the smooth seamless story that I'd become accustomed to. The acting doesn't really show up any shining performances, though if anyone had it, it was Harkness. Most of the other 'action', if you can call it that was unconvincing and poorly conveyed from a directing and acting point of view. I really do hope that the next story shows a return to the excellent form I love so much.

Here's one I made earlier...

Last week, I wrote a review for Venturer Magazine (the in club magazine for Beacon). Although I mentioned it on a previous blog entry, now that the magazine has been published, I have pasted the content in its entirety :-

**********

Having enjoyed reviewing the pilot episode of The Ninth Man this month brings the 2nd offering to my attention. Like so many pilots when they get commissioned there's a change at the top. Instead of Joshua Ive continuing his role as Robert Jameson, his shoes are ably filled by James Farmer. 

James has the benefit of looking a bit more 'weathered' than Joshua, and although he plays the role slightly differently, it is a really good fit. Not exactly an easy thing to carry off. At a moment of potential disaster for the fledgling series Jordan doesn't just settle for the next person available, he recasts with absolutely the right man.

Despite the change in lead, the production values and extensive use of location, continue unabated. As does the cornerstone performance of Alec Harkness in his role as Kenny Cooper. This particular story is also penned by Alec, a script with twists, turns and as many new questions as it provides answers.

Chris Wilkes' narration as Jameson's parole officer brings us up to speed with what's happing. We are very quickly into the action, with not so much as a second to pause for breath. There's no waste in this story, although some lines are more golden than others. Emma Giles' line of 'Bouncing around from arsehole to arsehole ?' did give me a chuckle.

Sarah Miatt does very well as the broody, pissed off and altogether angry Michelle Harris.

As the intrigue and tension cranks up, Jordon himself makes an appearance as 'Henchman' with an economical, but effective use of a certain garage we all know and love.

There were only a few times I picked up on anything technical, with the guest appearance from Mr B OOM in The Fight Club, (a location only marred by the determination to remain fully clothed of all the muscly fighting types), and the sunlight causing some lens flare as well as catching on the actors are but minor irritations.

A kidnapping that doesn't leave you expecting a 'mmmmwwwhahahah' must have been one of those moments Steve's now ex neighbours are going to miss.

With such a good ending to episode one, I do think we missed out not having a closeup of the ransom note. Farmer's lines are lost against Sarah's building rage, and Initially I had reservations about a cheese knife being used well as an instrument to instil fear. Sarah, however takes a situation that could otherwise have descended into farce and delivers menace, such is the quality of the acting.

One of the locations we are treated to in this story is a lovely Vegan cafe (they do a yummy vegan stew), where we meet Reet (played by my good self), and Chris Lovin (Ben Johnson). I have to say that this is one of the few occasions where I am not cringing as I watch my own performance, and although I do come dangerously close to looking right at the camera I swear all those times I look down whilst talking to Kenny are not to look at my script.

All in all, this second helping of a bit of Ninth Man pie goes down rather nicely. There's menace where there should be menace, humour where it's wanted, and with nothing to spoil it in the way of set, technical failings or performances from the actors this rather ambitious storyline is unravelling before our eyes. It doesn't drag at all, there aren't any bits that wouldn't have been missed had they been cut. It moves along at a decent pace, and is more than just easy to watch. It's enjoyable. I'm eager to catch the next instalment.

Apart from wanting more, the only other thing I feel deprived of is the cake Bek (Sam Sayner) was touting, where's mine ?

Here's something I wrote earlier...

This is the review I wrote for Beacon of The Adventures Of Stephen Brown, the story was called Inversions...

This month is my first review of the eagerly awaited Specials of 2011 (or were they 2010, I get confused ?). With a reduction in output, greater care has been put into all of the technical aspects of the production, do we prove that less definitely is more ? The previous season (whichever year it was) ended with a rather confused Lizzy (Sarah Miatt) discovering a gender confused Stephen Brown in the female form of Marie Ridley. This in itself is something that would have been very easy to go down the pantomime route and play to all the obvious jokes about the physical differences, and really construct a farce out of the situation. Thankfully this is not what Simon Doidge had included in his script. There was obviously the odd reference to the er.... chest differences, but the narrative focused on the other issues of the day. Marie does a great job being thrown into a role that really would be quite tough to know how to play. This is made all the easier by Sarah's presentation of Lizzie's interpretation of events, and some very well set out camera work exploring the tension and confusion between the two. Really, as I said earlier, this story does very well on the technical front, I can't see a boom in sight, and there's only one place where I think the transition cut in the edit was fluffed up a little (Marie's reference to chocolate milkshake), and where perhaps the sound needed to be better (John's audio matching image & lack of sound effect when Glenda & John disappeared from the antechamber). Otherwise we can easily believe that buildings on other planets look like 1970s concrete high rises. We can certainly believe the use of sets (Vo's ship, the space fighters), and the CGI space battle scenes really have borrowed somewhat from Battlestar Galactica, but is a choice that works well. It's more than just watchable, it's believable. The only area I would have to 'mark down' the story is in the story element itself. There's a lot of different things going on in these three episodes, and I struggled to follow at times what they all were, how they were interlinked and why they were important. I can't follow how or why we get Ryan back as Stephen. In previous Beacon work this would have been coupled with an assortment of technical issues that perhaps an audience would not be so forgiving of. On this story, I think the enjoyability of the 'theatre' and drama of the images we are treated to, and the novelty of seeing Ryan in an RAF uniform (sorry mate, but John Barrowman still does it better) override or at least compensate for the confusions. For me it's the acting performances of Ridley & Miatt with the sets used and the CGI that saves this story. Knowing what happens in the next story doesn't stop me being interested in how this all pans out.... and if you're intrigued too then I suggest you fire up your web browser this minute and find out....

Here's something I wrote earlier...

As I've mentioned before, I write reviews to be included into the in-club publication 'Venturer Magazine' for the good people at Beacon. This month I'd written a review, and that being the first one that I'd managed to do for quite some time, I thought I would include a copy here.... (excuse the formatting differences, and the fact that I've not been able to port over the document as published exactly)..

“SIMON

SAYS...”

REVIEWER Simon Sansbury

THE ADVENTURES OF STEPHEN BROWN

KAOS EFFECT

WRITTEN BY

Chris Wilkes & Neil Miller

DIRECTED BY

Matthew Hampton

It's been sometime since I've been able to pen a review, last year in fact. So long I'd actually forgotten which episode it was that I had reviewed last. After the chaos of moving home to my lovely shiny new flat, and all the other things that kept me from you, it is to another kind of chaos that I draw my attention. That being Kaos Absolute, story three in the 2009 series of The Adventures of Stephen Brown. The winding up of the story lines that involve The Death, Kaos and the Augury, not to mention young Sally Crawford's revenge against Stephen Brown for murdering her father. Much tying of lose ends to be done then. There's not a moment to lose.

The opening CGI shots of the Venturer were really nice in setting the scene, maybe a 'previously on The Adventures Of Stephen Brown' might have reminded anyone (like me) who'd forgotten how it was we got to this particular peril in the first place might have helped. Being really limited within the confines of the Venturer set does limit cameramen and directors alike. As the thing gets blown up every couple of years it does give us a chance to do something a bit different. Some learning of lines, and some different camera shots might have made things move along a bit better.

When we transport down to the planet, we are treated to the first half of a swear word left onto the audio when Blocklon (Matthew Hampton) walks into Stephen Brown (Ryan Brady), this along with hearing the director saying 'action' on an earlier bit of footage is a shame. Things start to look sparkly again when our intrepid heroes are walking towards Augury's cave. Some nice, but not too clever computer work there has created a cave entrance where there wasn't one, and later on we have the effect of Kaos' life force approaching it. It is again the challenges of fitting so many people into so little space that contributes to making the performances in the Augury's cave looks as realistic as the greenery that's draped all over the set. The Augury (Sassi Page) is meant to look really ill, but doesn't. The lighting here just doesn't do the set, or the actors any favours, and is perhaps too clean and too bright for my liking. I like things a bit dirtier and darker. But the least said about that the better.

Chris Wilkes' rendition of Kaos inhabiting Stephen Brown's old body isn't all that threatening or menacing, but he pulls some interesting faces as he fights Stephen Brown. There's some nice touches here in the lightening flashes etc of the phantasmagorical nature of the bitch fight between them, but the fight itself isn't always as tense, fast or threatening looking as it is at other times - but that's not helped by the return of those awful punch sound effects. There must be better ways to get realistic punch sound effects. (without resorting to actually punching people.. hang on.. that might work....).

The lack of effect to the already clinical lighting when Kaos' life force enters Chris (ahem) coupled with three people trying to roll around on the floor in such a small space really does harm the suspension of disbelief here. Which is a shame, as this scene, and its elements, is a staple of science fiction stories since, well since before November 23rd 1963. The storytelling could have been helped with some flashbacks to go with the dialogue while Ryan explains to Sassi how they got to that point.

Episode 2 starts off with a good recap of all that's gone before. Watching The Death (Robert Hampton) threaten Sally Crawford (Hazel Whiteland) by squeezing her cheeks was just as convincing as her reaction to it, and the threat afterwards. This story has some really brilliant elements to it that really mean a lot in the canon of the show. The script by Messrs Wilkes & Miller could have been shown off much more effectively, there's a couple of points when perhaps a line might have been0changed to better effect, but most of the time it really zings along, and attempts to deliver a real sense of pace and drama. Something the actors seem to have missed entirely.

Ryan, Matthew and Katie 'rush' to escape the cave, helping along the wounded/ill Augury only to be confronted again by Kaos, still in the form of Chris Wilkes. There's some fancy light show battle on the shingle there that is done rather well, and the dispatching of The Augury is a rather good shot. The conviction, urgency and fear is completely absent on all of the actors' performances however. After she's dead, The Augury has a telepathic conversation with Ryan's Stephen Brown. This scene, although spoiled by a very cheesy ending that looked like a toothpaste commercial, was very well lit and executed by both Sassi and Ryan.

Some more clumsiness from the crew means we have such a good shot of the boom at the bottom of a shot while Ryan, Katie and Matthew stand and discuss the danger they are facing that I thought perhaps we could have dressed it up as some sort of furry alien. As Ryan explains that Kaos' life force is still around us (although without the sound or lighting effects that hinted at it before) there is again this very static delivery of what should be tension building lines. There's a 'walk, stop, say line, stand talking, talk about danger, walk off at a normal place' formula to the acting. The CGI here of the planet cracking up comes without explanation or reason, and doesn't at all match up with what's happening in the live action shots. There's absolutely no evidence of the planet destroying itself on location. Obviously 'blessed' with a brilliantly sunny day didn't help.

Episode 3 reminds us that for a planet under destruction it still looks remarkably like a rather nice Sunday walk in the country. Could we have done something to darken this down or muddy up the image a bit in post production ? I don't know, but it's something we have done before. The exploding planet illusion isn't helped by the inconsistently applied synchronised stumbling of the cast to the camera shakes. The camera effect works rather well (although not applied in later shots - perhaps there was someone else on camera, perhaps they just got bored of it), but the cast manage to make it look like they are trying to find their way home after drinking too much on a night out in town.

Ryan has some lines in another moment of 'we're running away, but we'll stop long enough to deliver our lines, pause for a bit and then not hurry off again', where the sound is rather poor. We also get to see how close the sound man is to the action, because his leads are dangling into the edge of the shot.

The shots from the point of view of Kaos' life force look rather like someone threw some compost on the camera lens before shooting it. It doesn't match up however with the shots from episode one, and doesn't quite convey the atmosphere of the moment. Some lines delivered by Ryan about how Kaos is sapping his life force makes him sound like a whining teenager (ala Kev & Perry style) than our hero struggling to keep it together.

Death, despite saying he wasn't going to be a hero and die fighting Kaos, does just that. A really vital moment in the history of the show, and we have no shot of our star's reaction to the death of his brother. The moment is further spoiled in the next episode by the smiling and laughing as Blocklan lifts up the now deceased Death to carry him back to the Venturer. Really pivotal moment in the story line and it's completely ruined. The episode ends with the now correct and faithful restoration of Kaos to his former self, aka the intergalactic hoodie in the form of Neil Miller. It has to be said that Neil works the menacing look very well and delivers the only believable performance of the story. He really does look cross enough to bite your ear off. Chris now gets his telepathic Skype call from the Augury. Again really well done with the mood and atmosphere. Although this does come across as a self referential last outing (until the next time) for Wilkes' Stephen Brown it's so expected that we get away with it.

Miller's appearance on the shingle to fight Ryan's Stephen Brown is a great show of lights, only spoiled by the fact that it isn't lip synced right. The unconvincingly delivered fighting talk from Ryan, coupled with the leaping together into combat makes it look like they need to get a room more than a referee. The magically convenient (for the writers) ability to transport himself allows Ryan to take Chris with him back to the cave where another 'fight' in the form of a hug off ensues. Wilkes' hands look like he's about to start massaging Miller rather than strangle him, but at least he still manages, mid fight to put his hat back on before hugging Miller once again. This story has in it all the key ingredients of a fantastic forty minutes of entertainment, I hope the audience could see past the flaws in the acting, directing and production quality to that cracking story underneath. Just imagine how epic it would have been if they didn't have to do that.

Do we always get what we expected ?

Today was the day of my annual review. Somehow whenever I have these things, I expect them to be basically a torrent of abuse. Of course, I should know better. It's been an awful long while since I had a boss that actually did that. (pretty much, since I left Tesco really).

Really, it didn't go all that bad. It didn't go as well as I could have hoped either, but at the same time, there was progress over my score from last year.

Is it that I have never gotten an increment, so have never expected it leading me to feel apathetic about it ? Strangely. No. Although I can point to lots of things that are better this year, over last year, I see the progress that's been made this year as the foundation, building blocks if you like.. for the stronger performance and success that is to follow.

Hope you're going to have a better year, month, week or day ? No. MAKE it a better year, month, week or day.

who reviews the reviewers ?

As you may or may not know or be interested, one of the creative groups I am involved with is based in Southampton. Beacon. They produce, amongst three series, (currently) all of which I have written for. It's a completely voluntary group. Amateur Video production (which somehow sounds sordid whenever you tell anyone).

The group survives, in the same way that many others like it do. On the blood sweat and tears of a few very good people. Beacon is fortunate enough to have my good friend, Stephen Launay as it's head. His number two, Chris Wilkes is equally as much a 'must have' component as a video camera.

Anyhoo.  Tonight, I submitted my second review for the in-group magazine 'Venturer Magazine'. Now, I'm only just getting started on this reviewing lark. Barely warmed up. With a deadline looming - and me deciding to be uncharacteristically three days early, a thought occurs to me. It occurred to me AFTER I had hit the 'send' button on Evolution Email.

Who reviews the reviewers ?

Okay, that's not as dumb a question as it sounds. I know, of course that perhaps the most obvious answer is the readers, as if they don't like what the reviewer writes, they won't read their column in future. In the case of paid for press (don't get started on that subject, we'll have someone from SkyNews crying about how they can't make money from print media any more), they may not even buy the publication any more. With web media (blogs and the such like), an offended or disgruntled reader will avoid said blog or website, probably for quite some time, possibly indefinitely.

Sure there's an editor in something that other people produce, like the magazine. The writers as much as the readers rely on them to ensure that the world doesn't go to hell in a hand basket when the next issue hits the news stands.

Written words is just like spoken ones, except they're written down. Dummy.

Well, except no. They are not.

When I speak to someone in the street, the don't generally tell me that they don't like what I said, or how I phrased it, which words I used etc etc. They may well think it, but they wouldn't say it. People would consider that rude, and invasive to be that specific about how or what someone says. Speech writers know different. Speech writers, well the clue is in the name, they write speeches. Before the speech, comes the write. Before the page, comes the writer.

Editing, or feedback, or whatever you want to call it, is something that most people are more than a little weird about. As a manager in a call centre I spend much of my time letting people know about how x, y, or z went, and if it could have been done better. But, you know what. No one is perfect. To try, is great, as an ideal, but really, there is not any expectation that perfection should ever actually be reached. Is there ?

If there is, then maybe that's why I don't get bonuses or promoted.

I digress.

Writers chose, sometimes consciously, sometimes subconsciously to have their output, edited, reviewed. Whatever. I guess part of being a successful writer, is knowing which advice, edits or feedback to accept, and which to dismiss. If I figure out what's what, if I make a success as a writer, I'll let you know. I'll let you know by selling you a book to tell you how.

<slap> Dammit. Digression.

No one in their right mind (or even their write mind) would have someone sat on their shoulder, constantly telling them how speak differently, what to say, when, to whom, and how to say it. What pitch, what cadence. What voice.

When does feedback mean it's no longer YOUR voice.

This blog doesn't have an editor - hell most of the time, it doesn't have a blogger. You may wish that it did (have an editor). As a person, I work best when I am struggling to find the balance between two equal and opposing natures/qualities. There's a part of me that might sit there thinking 'I DON'T WANT to change what I've written. I liked it. Stuff them.' There's also the part that says, 'IDIOT. If you ever want people to like what you write, you have to learn how to do it better, and better is a journey. It's not a destination. You never get there.'

Better is to writing, what tomorrow is to schedules. Something you can think, plan and organise, but will never actually arrive at.

If they said at the airport :- 'Ladies and gentlemen, the plane now at gate 53, will leave, but it will never arrive at your destination.' No one would get on that plane.

No one would take that journey.