In April's Televisual we have a production close-up feature on Going Postal, Mob Films' latest Terry Pratchett Discworld adaptation for Sky 1.
As part of that, we're running a Q&A with the knighted author about how he feels about seeing his books on screen, and how he feels about getting on to the set.
He says: "If I can get on set during filming, I am like a kid with a train set. I'll even hang out with the costume ladies.I really love getting behind the scenes. When Hogfather was being made I was very impressed with the depiction of Archchancellor Ridcully's study, which was everything a wizard's study should be. But I pointed out to the set dressers that no cleaner in their right mind would ever go into a wizard's study and so it should be a lot more dusty. They actually seemed impressed with this because as they left they were heard to say "he knows his snotting" (snotting up meaning 'distressing' a start or part thereof to make it look well used, but neglected.Another term we picked at the same time was 'chutney' which apparently means everything lying around that shouldn't be. A film set is full of chutney.)"
Aardman directing outfit Busty Kelp (Paul Smith) created this motion capture clip, currently working its way to the Youtube front page. It features US teenage dog character Greg Mutt and his incisive review of James Cameron's Avatar .
The new Doctor Who's new exec producer, Piers Wenger, has been chatting to Televisual about how the upcoming series has changed from its previous incarnation.
The first episode of series five TXs this Easter weekend and Wenger, who's taken over from original exec Julie Gardner, will be nervously awaiting the public reaction.
There is of course, a new Doctor on board, Matt Smith, and a new lead writer in Steven Moffat.
Smith's Doctor is "more chaotic, charming in a more bumbling way, less obviously responsible, more unpredictable. He’s quite clumsy as a person, there is a Stan Laurel-ish quality to him," says Wenger.
And on Moffat's writing, he says: "Steven is a very different writer to Russell. His writing has a different character. Blink is a good example of how he likes to use childhood fears to inject jeopardy into his stories. We took that as a lead to bring in a sense of wonderment and fairytale and a little more darkness - that feeling of a classic children’s story.”
Wenger has also brought in a completely new directing team for this series.
We've seen a sneak preview of episode one and it was one of the most engaging bits of TV drama we've seen in a long while.
The full interview will be in April's edition of Televisual
It’s not an easy ask for a design and animation company to turn reams of dry, statistical data into an interesting and explanatory narrative.
But that’s what left wing thinktank Demos asked Airside to do with its detailed statistical study which tried to show how much power was held by individuals in each area of the UK, and by constituencies as a whole.
Airside set the problem in a historical context in order to create a narrative that would help ordinary members of the public understand these concepts.
The film was created as part of the Sunderland-based Northern Gallery of Contemporary Art’s exhibition entitled Think-Tank: A Marketplace of Ideas that had Britain’s leading think tanks collaborate with the its top designers to imagine how to create a better nation.
Just doing the rounds of the light entertainment commissioners for our LE report that will come out in the next (April) issue.
So far, we’ve chatted to the BBC’s Mark Linsey and Sky’s Duncan Gray.
It looks like humour is a major theme for BBC entertainment commissions right now. Linsey said: “Let’s Dance and Total Wipeout have a lot of humour and fun at heart. That undertone of comedy is very important to us. Even if you look at formats like Young, Dumb and Living Off Mum and Undercover Princesses – there’s a lot of humour in there.”
Specifically, his focus is on the 10.35 slots on Mondays and Fridays. “We’re trying not to be too proscriptive because we want people to challenge us, we want people to surprise us, we want people to come to us with quite risky or out-there ideas for BBC1 we are looking to take a few risks with fresh original formats.”
Gray said Sky was sticking firmly to a “fewer, bigger, better” agenda for LE and that the way forward for his commissions was “not about being niche or playing on the edges, it’s about absolutely being in the middle of the cultural agenda but you’re able to skip a generation and take a slightly fresher approach.”
Check out the full report in Televisual’s April issue.
Check out this "making of" video for Passion Pictures director Dan Sumich's new stop frame spot for the Action For Children charity.
The model of the little girl was built and animated in CG and then the animated frames were used to shape the resin models using lasers. Around 95 models were created all in all and were hand painted and shot as live action.
Lying prostrate on Newman Street all night amongst the beer cans and fag butts must have been fun.
This stunning time-lapse, tilt-shift style short about a day in the life of New York city was created by director Sam O'Hare who's repped through Aero Film in New York. The track, written for the film, is by Human. For more info on how O'Hare created the short, check out this Q&A
A couple of fantastic sporting journeys from a couple of Gorgeous's directors. The first is Chris Palmer's Football Evolution for Visa made through Saatchi and Saatchi and the second is Peter Thwaites AT&T Winter Olympics Up and Up spot for BBDO New York.