Mad Max 2, aka The Road Warrior
Previous instalments: Intro Mad Max This is the one I’d seen, back when Alex Cox introduced it for Moviedrome. I remember enjoying it, but it’s action was much curtailed by…
Mad Max
Previous instalments: Intro I think I was put off the first Mad Max because it seemed a bit too nasty for me. I was worried I’d be scared, frankly, when…
The Road to Fury: an appreciation of Mad Max
I’ve wanted to see Mad Max: Fury Road since it came out in 2015. Everyone loved it, and its nomination for Best Picture at the Academy Awards broke ground for…
Double Bill: Annihilation and Arrival
This is a double bill that happened by accident. I was keen to watch Alex Garland’s Annihilation purely because it was new: I don’t get to the cinema much lately,…
Rogue One review, with spoilers
Having not thought much of Star Wars Episode VII: The Force Awakens, and feeling like I was adrift in a sea of praise for it, I was sceptical about Rogue…
Other People’s Eyes, and why Kubrick’s last film is, I think, unfinished
An editor will prepare a cut in near-isolation. It would be total isolation if it wasn’t for the director (or Edit Producer, who does the director’s job in the cutting…
I’ve been FCPX Grilled
You know that scene from The Jerk, where Navin R. Johnson leaps ecstatically into the air when the phone book arrives because it’s the first one to feature his name?…
Bow to the Audience
My favourite living musician and recording artist is Prince. I’ll allow that if you don’t like him, you probably really don’t like him. That’s because he’s really good. Not a…
Dying formats, emergent workflow
The only problem I’ve encountered with Final Cut Pro X during my first edit for broadcast TV involves anamorphic QuickTimes, but in solving it I found a new friend in…
Chuck Tells Us How
Never read any Chuck Palahniuk, but the sheer volume of writing advice he’s shared via his website is enough to endear him. I’m going to wade through these essays (which…