A former stand-up comedian, Pat founded his company Jinx Media in 2003 with the aim of producing horror movies with cool scripts and low budgets for the international market. Since then, he has written and directed five features (including acclaimed fake documentary THE DEVIL'S MUSIC), and served as lead writer or script doctor on many more (including STRIPPERS VS WEREWOLVES, for which he is very sorry).
He regularly gives talks about screenwriting and filmmaking at film festivals, universities and events. He has seen the movie GREMLINS more than 85 times.
In preparation for the new series premiere, I have of course revisited the whole damn original run. My recent binge-watching has been the first time I've seen <em>Twin Peaks</em> in its entirety for over a decade.
First page of the novelisation of The Goonies. On the inside leaf; a teaser bit of text from later in the novel, designed to whet your appetite. A description of an octopus attacking the kids, in a flooded cavern with a pirate ship floating sedately in the background.
For years now, Dinklage has managed to maintain his enviable position of being the single best reason to watch <em>Game of Thrones</em>. The idea of him piloting the TARDIS fills me with nothing but joy, even though I'm a sufficiently die-hard fan to approach any change in my beloved show with a mixture of suspicion and fear.
A colleague suggested that the best starting point would be to use a free online service to prepare 'auto-detect' subtitles, which could then be proof-read and edited before being exported and attached to the new version of the movie for Amazon. This seemed like a damn good starting point. It worked! Well, it sort of worked.
Things being 'out' had a knock-on effect, of course. One of those things that seemed trivial at the time, but had a huge impact on the way we consume movies. Because if you hit the video shop on a Saturday night, you sure as hell weren't going to be able to pick up a copy of that week's big release unless you were insanely lucky.
There was a penis on <em>War and Peace</em> this week, and apparently this was a big deal.
Before you faint in horror and disgust, let me stress that the penis was neither 'ready to rock & roll' nor in a setting where it looked likely to become so.
On January 23rd, we're going to screen the movie for the public for the first time at my favourite film festival in the world, <a href="http://www.horror-on-sea.com/" target="_hplink">Horror-on-Sea</a>. Then, after that premiere, we destroy that version and never screen it again.
Skip to 2002, and the 12 rating became advisory shortly after the release of Sam Raimi's Spider-Man. Now it really was "Still a PG, but we're serious this time". And then the bastard thing took over cinema as we know it.
I remember watching <em>Shocker</em> on a VHS all-nighter with my cousin Gav. Watching the basketball-induced head explosion in <em>Deadly Friend</em>with my jaw hanging open. And <em>Scream</em>. God, how I remember watching that, in a packed cinema absolutely fizzing with tension. Watching and wondering just how one guy could get so good at this.
Whether we pay them by the mouse-click, pay them by the purchase of a newspaper or pay them by the phone votes on a TV talent show, we pay them nonetheless. Whether they're providing us with loathsome viewpoints, shouting at unknown singing hopefuls or just misrepresenting evidence in order to demonise a section of the population, paid assholes seem to be everywhere.
When David Lynch tweeted that negotiations had broken down and that he was walking away, I had a load of questions. The first thirty-seven of these questions all consisted of the word 'WHY?' screamed heavenwards at an uncaring God as I stood shirtless in a rainstorm. The thirty-eighth question was 'Well, what now?'
I was clearly never cut out to be a critic, but I'm fascinated by the process even to this day. In particular, I'm interested in what makes their opinions 'different' from those public ones to which the internet has given a voice.
At the risk of sounding all "Eeh, in my day it were all fields around here", which is never a good look, (especially when the day you're talking about was only about a decade ago), I think what the new generation of filmmakers need more than anything else is some obstacles.
A while back, I was asked by a horror fan who had never seen the movie whether it would live up to his expectations. I was about to answer an enthusiastic 'yes' when I paused; all of my experiences of Poltergeist are filtered through having first seen it in my early teens.
I really miss having no choice. There's a real frisson to those moments when you lose the remote control under the sofa, or the wi-fi network packs up. You might have to watch something you don't like, or even something that you have <em>no opinion about yet</em>. Losing the remote is a scary rollercoaster of possibilities.
In one of the strangest coincidences of all time, I had actually spent this very afternoon making weak jokes to a friend about how the new version of Paddington Bear was edgier, darker and, yes, sexier than previous versions. Turns out I was right.
19/11/2014 17:09 GMT
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