This is a short collection of interviews recorded at the IFI last year, detailing how the public view the Frank Capra classic It's a Wonderful Life. This piece was also used on the blog for Sound & Motion Radio, which can be found here.
Saturday 17 May 2014
Friday 16 May 2014
Composing Ireland: A Radio Documentary
Here is a short radio documentary I made over the last year about the world of composing, film music and orchestras in Dublin. Enjoy!
Thursday 15 May 2014
The Cinemas of Dublin
Ireland has a long line of impressive cinemas, ranging from O'Connell Street's Savoy, to the more recently opened likes of Dundrum Movies and the Odeon in Stillorgan. However, the smaller cinemas have also proved to be just as enduring as their more mainstream counterparts.
Opened in 1972, the Screen cinema in Hawkins Street is small compared to most of the well-known cinemas, boasting far less screens, and a more secluded location. However, it has gone on to become one of Dublin's most recognisable movie houses and despite its unusual layout and choices, it has become one of the premier cinemas to showcase the best in independent Irish cinema, as well as classic and arthouse films. Thanks to this Irish appeal, the Screen has received a healthy audience of followers. Standing guard outside the cinema is the now legendary ''Mr Screen'' crafted by sculptor Vincent Browne.
Standing at the very bottom of O'Connell Street past the Savoy, the Ambassador Cinema was once one of Dublin's premier cinemas, operating from 1897 right up to 1999, when it was re-modelled as a music venue, then an exhibition hall, a purpose it still serves today. Its long history has made it Ireland's longest-running cinema, having been around since the beginnings of filmmaking.
The cinema was originally built as part of the Rotunda Hospital, and over the years became the location for many first-time film showings. Since it ceased acting as a cinema, it has played host to a number of exhibitions, including the likes of the Bodies Exhibition and more recently, the Art of the Brick.
Opened in 1972, the Screen cinema in Hawkins Street is small compared to most of the well-known cinemas, boasting far less screens, and a more secluded location. However, it has gone on to become one of Dublin's most recognisable movie houses and despite its unusual layout and choices, it has become one of the premier cinemas to showcase the best in independent Irish cinema, as well as classic and arthouse films. Thanks to this Irish appeal, the Screen has received a healthy audience of followers. Standing guard outside the cinema is the now legendary ''Mr Screen'' crafted by sculptor Vincent Browne.
Standing at the very bottom of O'Connell Street past the Savoy, the Ambassador Cinema was once one of Dublin's premier cinemas, operating from 1897 right up to 1999, when it was re-modelled as a music venue, then an exhibition hall, a purpose it still serves today. Its long history has made it Ireland's longest-running cinema, having been around since the beginnings of filmmaking.
The cinema was originally built as part of the Rotunda Hospital, and over the years became the location for many first-time film showings. Since it ceased acting as a cinema, it has played host to a number of exhibitions, including the likes of the Bodies Exhibition and more recently, the Art of the Brick.
Sunday 20 April 2014
HMV Re-Opening 19/4/2013
Yesterday saw the long awaited return of HMV to Dublin's Grafton Street after a long absence. The opening follows in the wake of HMV's return to Ireland, with stores such as those in Dundrum having re-opened for business just a few months ago.
The Grafton Street opening was accompanied by large crowds and celebrations that started in the early morning, some of which can be seen in the above video.
The Grafton Street opening was accompanied by large crowds and celebrations that started in the early morning, some of which can be seen in the above video.
Sunday 6 April 2014
Assignment Report
NOTE: This post is for a college assignment.
On 19 March, Justice Irvine in the Four Courts of Dublin oversaw a personal injuries case involving Mr Madajcazyk (56), a Polish National who has worked in construction in Ireland. His case was against Multi-Roofing Systems Limited, the company he had worked as a roofing and cladding worker from 2005-2010.
In High Court No 2, Mr Madajcazyk's case was examined for 45 minutes by Mr McDonnell, Counsel for the Plaintiff. During the case, it was revealed that Mr Madajcazyk's work involved heavy lifting, and mounting panels onto roofs. Over time, he began to suffer pains, and was eventually forced to leave his job. He visited his doctor who informed him that his injuries were most likely work related.
There was no manual training course or health and safety officer on site at the time. Mr Madajcazyk had completed a health and safety course at his own expense, and his request to appoint a Health and Safety officer on site was refused by the defendants.
The case is to be continued tomorrow. (20 March)
On 19 March, Justice Irvine in the Four Courts of Dublin oversaw a personal injuries case involving Mr Madajcazyk (56), a Polish National who has worked in construction in Ireland. His case was against Multi-Roofing Systems Limited, the company he had worked as a roofing and cladding worker from 2005-2010.
In High Court No 2, Mr Madajcazyk's case was examined for 45 minutes by Mr McDonnell, Counsel for the Plaintiff. During the case, it was revealed that Mr Madajcazyk's work involved heavy lifting, and mounting panels onto roofs. Over time, he began to suffer pains, and was eventually forced to leave his job. He visited his doctor who informed him that his injuries were most likely work related.
There was no manual training course or health and safety officer on site at the time. Mr Madajcazyk had completed a health and safety course at his own expense, and his request to appoint a Health and Safety officer on site was refused by the defendants.
The case is to be continued tomorrow. (20 March)
Monday 13 January 2014
A Wonderful Time at the IFI
A cold Saturday night in the depths of winter provided the backdrop for the IFI's screening of the Frank Capra classic It's a Wonderful Life. Despite being made in 1946, it has endured to become not only a festive classic, but highly regarded as one of the greatest productions ever put to celluloid. But is it only critics that hold the film in high regard, or does it still retain staying power with the general public?
It is undeniable that It's a Wonderful Life contains a plethora of iconic scenes that have bled into popular culture: George Bailey's final run through Bedford Falls, the miserly villainy of Mr Potter (Lionel Barrymore), and of course, Bailey's prayer of desperation. Yet, it is a film accused of being overly sentimental, to the degree that critics coined a new term to describe their collective feelings: Capra-Corn.
''Very sentimental, but not in a soppy way. Warm, in a good way.'' is how one man described it following the evening's showing. It seems that the public may disagree with the critics of old. Over time, the film's darker underbelly has become lost to popular culture, and the film's displays of desperation and discomfort can come as surprising. Some of the later scenes border on the very dark, particularly as George reaches his limit. Of course, the film is an acting master class from James Stewart, who is allowed to explore a vast and admirable range of emotions, from the greatest happiness, to the most bottomless despair, and back again.
However, the film remains extraordinarily well-plotted, with scenes never dragging and always serving a sense of purpose to the overall plot. Scenes from the beginning prove to have relevance later on, and this is a testament to both the original story and Frank Capra’s overall direction.
On the subject of the film’s sentimental side, it is perfectly arguable that the film deserves its moment of unashamed brightness after a long, extended scenes of psychological darkness, contemplations of suicide, and family arguments. By the end of the climactic scenes in the alternate Bedford Falls, the film earns the right to become sentimental and sweeter in its tone.
Popular culture and critics have also placed an incredible emphasis on the film's final stretch. In fact, many of the truly iconic scenes do not occur until the final act. In a testament to the slower pace of the 1940's, It's a Wonderful Life spends almost three quarters of its two-and-a-half-hour running time just setting up its characters and setting, before cranking up the drama in the finale. This works tremendously in the film's favour, easily avoiding a rushed feel without feeling painfully slow.
Apart from Stewart, the film benefits from a talented guest cast including Donna Reed as Bailey's love interest and Lionel Barrymore's quintessential depiction of corporate evil. But of the supporting cast, it is arguably Henry Travers as the angel Clarence who shines, making the most out of his short stay on screen during the film's climactic scenes.
Undoubtedly, It's a Wonderful Life is a film that defies the conceptions placed upon it by critics, and it seems that even for first-time viewers, the film has had a lasting impact. One first-time visitor was on hand to provide a lengthy statement on the film’s timeless appeal. ''A real tear-jerker. I never saw it before. We just decided we'd book the tickets and go along to it. It would be right up there with my favourite ones actually, and it really makes you appreciate friends and family. It's a good one for Christmas.'' In a way, this possibly sums up the film's special qualities, free from the shackles of pop culture and critical opinion.
''Excellent film. One of my favourites. First time I've seen it on the big screen.'' This statement echoed a lot of what was to be heard following the film's end, among the film's already established fanbase. On this note, a final moment of praise must go to the IFI, who resisted the temptation to show the film in a colourised format, opting instead for the original black-and-white, but on an extremely well conceived remastered print, free from scratches or the markings of time.
Overall, both public and critical contribute to the fact that It’s a Wonderful Life deserves its place as one of the greatest films ever made. Like many other films of its age, such as Gone With The Wind and Casablanca, it is a film best viewed in its purest form, undiluted by the passing of age, the long-regarded opinions of critics, and the diminishing pop-culture returns.
A shorter review, along with an audio recording of the activities at the IFI, are available at soundandmotionradio.wordpress.com
Uploaded by LightStormMovie
It is undeniable that It's a Wonderful Life contains a plethora of iconic scenes that have bled into popular culture: George Bailey's final run through Bedford Falls, the miserly villainy of Mr Potter (Lionel Barrymore), and of course, Bailey's prayer of desperation. Yet, it is a film accused of being overly sentimental, to the degree that critics coined a new term to describe their collective feelings: Capra-Corn.
''Very sentimental, but not in a soppy way. Warm, in a good way.'' is how one man described it following the evening's showing. It seems that the public may disagree with the critics of old. Over time, the film's darker underbelly has become lost to popular culture, and the film's displays of desperation and discomfort can come as surprising. Some of the later scenes border on the very dark, particularly as George reaches his limit. Of course, the film is an acting master class from James Stewart, who is allowed to explore a vast and admirable range of emotions, from the greatest happiness, to the most bottomless despair, and back again.
However, the film remains extraordinarily well-plotted, with scenes never dragging and always serving a sense of purpose to the overall plot. Scenes from the beginning prove to have relevance later on, and this is a testament to both the original story and Frank Capra’s overall direction.
On the subject of the film’s sentimental side, it is perfectly arguable that the film deserves its moment of unashamed brightness after a long, extended scenes of psychological darkness, contemplations of suicide, and family arguments. By the end of the climactic scenes in the alternate Bedford Falls, the film earns the right to become sentimental and sweeter in its tone.
Popular culture and critics have also placed an incredible emphasis on the film's final stretch. In fact, many of the truly iconic scenes do not occur until the final act. In a testament to the slower pace of the 1940's, It's a Wonderful Life spends almost three quarters of its two-and-a-half-hour running time just setting up its characters and setting, before cranking up the drama in the finale. This works tremendously in the film's favour, easily avoiding a rushed feel without feeling painfully slow.
Apart from Stewart, the film benefits from a talented guest cast including Donna Reed as Bailey's love interest and Lionel Barrymore's quintessential depiction of corporate evil. But of the supporting cast, it is arguably Henry Travers as the angel Clarence who shines, making the most out of his short stay on screen during the film's climactic scenes.
Undoubtedly, It's a Wonderful Life is a film that defies the conceptions placed upon it by critics, and it seems that even for first-time viewers, the film has had a lasting impact. One first-time visitor was on hand to provide a lengthy statement on the film’s timeless appeal. ''A real tear-jerker. I never saw it before. We just decided we'd book the tickets and go along to it. It would be right up there with my favourite ones actually, and it really makes you appreciate friends and family. It's a good one for Christmas.'' In a way, this possibly sums up the film's special qualities, free from the shackles of pop culture and critical opinion.
''Excellent film. One of my favourites. First time I've seen it on the big screen.'' This statement echoed a lot of what was to be heard following the film's end, among the film's already established fanbase. On this note, a final moment of praise must go to the IFI, who resisted the temptation to show the film in a colourised format, opting instead for the original black-and-white, but on an extremely well conceived remastered print, free from scratches or the markings of time.
Overall, both public and critical contribute to the fact that It’s a Wonderful Life deserves its place as one of the greatest films ever made. Like many other films of its age, such as Gone With The Wind and Casablanca, it is a film best viewed in its purest form, undiluted by the passing of age, the long-regarded opinions of critics, and the diminishing pop-culture returns.
A shorter review, along with an audio recording of the activities at the IFI, are available at soundandmotionradio.wordpress.com
Uploaded by LightStormMovie
Top 5 Film Soundtracks of 2013
2013 has been and gone, but in its wake, it left a wealth of great film soundtracks from some of the most talented composers working today. This is a list of five of the best this year had to offer...
01. Star Trek Into Darkness
Michael Giacchino
J.J. Abrams followed up his 2009 Star Trek reboot with a film that provoked a very mixed reception. However, one of the things many could find no fault with was Michael Giacchino's superb soundtrack. Expanding on cues from the first film, Giacchino created a soundtrack far deeper and more complex than its predecessor. The highlight is the slow-building motif used to represent Benedict Cumberbatch's villainous John Harrison, which can be heard below, but Giacchino's own Star Trek theme still gets the air time it deserves.
Uploaded by avinindustries13
02. Gravity
Steven Price
Alfonso Cuaron's 2013 return may have blown away both critics and moviegoers, but it would have lacked all its power without Steven Price's atmospheric and eerie soundtrack that demonstrates both the wondrous and terrifying vision of space presented by the film. The score's standout is Don't Let Go which shows off this range perfectly. It was the intention to create a score that expressed the psychological aspects of the scene rather than the description. In these regards, Price's score is a success.
Uploaded by Soundtracks&Co
03. 12 Years a Slave
Hans Zimmer
Recently, Hans Zimmer has built up a reputation for producing overly bombastic action scores, that although arguably effective, lacked character and memorable hooks. It was refreshing to hear the two tracks he composed for 12 Years a Slave, which sees Zimmer in a far more subdued mode. His main theme, entitled Solomon is a sad and gentle string piece, that provides Zimmer with a chance to show off a far more subtle and affecting side.
Uploaded by Aritivista-Abogado
04.Oz, The Great and Powerful
Danny Elfman
Sam Raimi's take on The Wizard of Oz legend allowed Danny Elfman to once again express his gift for quirky fantasy scoring, a sound that still remains uniquely his and his alone. Oz, The Great and Powerful made for one of the year's most memorable scores, and demonstrates why Danny Elfman is still one of the most beloved and wanted composers working today.
Uploaded by SOUNDTRACKBSO
05. Pacific Rim
Ramin Djawadi
Ramin Djawadi has proved time and time again that he is one of today's most interesting composers. From his soundtracks to Iron Man and Game of Thrones, he has shown that the art of scoring is still very much alive. For these reasons, Guillermo Del Toro chose him to provide the score for his most recent epic. Djawadi lived up to the challenge, providing a score that deftly reflects the film's world, and does what any film score is prescribed to do: create an atmosphere and a melody.
Uploaded by MonsieurActualites
01. Star Trek Into Darkness
Michael Giacchino
J.J. Abrams followed up his 2009 Star Trek reboot with a film that provoked a very mixed reception. However, one of the things many could find no fault with was Michael Giacchino's superb soundtrack. Expanding on cues from the first film, Giacchino created a soundtrack far deeper and more complex than its predecessor. The highlight is the slow-building motif used to represent Benedict Cumberbatch's villainous John Harrison, which can be heard below, but Giacchino's own Star Trek theme still gets the air time it deserves.
Uploaded by avinindustries13
02. Gravity
Steven Price
Alfonso Cuaron's 2013 return may have blown away both critics and moviegoers, but it would have lacked all its power without Steven Price's atmospheric and eerie soundtrack that demonstrates both the wondrous and terrifying vision of space presented by the film. The score's standout is Don't Let Go which shows off this range perfectly. It was the intention to create a score that expressed the psychological aspects of the scene rather than the description. In these regards, Price's score is a success.
Uploaded by Soundtracks&Co
03. 12 Years a Slave
Hans Zimmer
Recently, Hans Zimmer has built up a reputation for producing overly bombastic action scores, that although arguably effective, lacked character and memorable hooks. It was refreshing to hear the two tracks he composed for 12 Years a Slave, which sees Zimmer in a far more subdued mode. His main theme, entitled Solomon is a sad and gentle string piece, that provides Zimmer with a chance to show off a far more subtle and affecting side.
Uploaded by Aritivista-Abogado
04.Oz, The Great and Powerful
Danny Elfman
Sam Raimi's take on The Wizard of Oz legend allowed Danny Elfman to once again express his gift for quirky fantasy scoring, a sound that still remains uniquely his and his alone. Oz, The Great and Powerful made for one of the year's most memorable scores, and demonstrates why Danny Elfman is still one of the most beloved and wanted composers working today.
Uploaded by SOUNDTRACKBSO
05. Pacific Rim
Ramin Djawadi
Ramin Djawadi has proved time and time again that he is one of today's most interesting composers. From his soundtracks to Iron Man and Game of Thrones, he has shown that the art of scoring is still very much alive. For these reasons, Guillermo Del Toro chose him to provide the score for his most recent epic. Djawadi lived up to the challenge, providing a score that deftly reflects the film's world, and does what any film score is prescribed to do: create an atmosphere and a melody.
Uploaded by MonsieurActualites
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