As Manchester By The Sea moves cinema audiences across the UK we return to Paul Duane’s piece on a 2012 Lonergan Q&A
A Moving Image ( dir-scr Shola Amoo)
Director Shola Amoo grew up in the Elephant and Castle, so he is no stranger to what gentrification can do to a community. A graduate of the National Film and Television School, this is Amoo’s first feature. It is a documentary film within a drama, which allows him to use interviews with Brixtonians, scripted drama and the photographs of Neil Kenlock to explore a changing Brixton through what happens to Nina (Tanya Fear) when she returns there. Continue reading London Film Festival 2016 Days 3 to 4
Big release this week is obviously The Hunger Games, which I assume, following the lead of Battleship, is a big-budget Hungry Hungry Hippos adaptation. But sod it – we’ve been quite excited about Spike off of Press Gang’s Wild Bill since last year’s London Film Festival so…
IN YOUR HUNGRY FACE, HUNGER GAMES! Boom!
Not that we want you to leave us, but here’s a nice article about film criticism in the 60s/70s.
Or you could stick around and read a MostlyFilm article from this week. All crackers:
There’s Always Two Lawyers, Kenneth Lonergan talking about screenwriting.
Sweeney Todd, our review of the new stage production.
The Ever-Expanding White Cube, on the art gallery chain.
Black Coal Heart, on the somewhat overlooked genre of British noir.
Join us next week for smooches, aliens, tiny furniture and a load of slap.
by Paul Duane
Kenneth Lonergan, a big, disorganised-looking, mop-haired, slightly put-upon-looking man, sits at the front of the auditorium. He’s looking at the audience, they’re looking at him, and nobody speaks. The guy who’s doing this Q&A with Lonergan, director Damien O’Donnell, is nowhere to be seen – it transpires he’s looking for a small bell that he’s brought as a prop, for some reason that never really becomes clear. There’s a long, uncomfortable pause as the audience and Kenneth Lonergan try to figure out the etiquette to deal with this mild bit of social discomfort.
It’s a very ‘Kenneth Lonergan’ type of moment, right out of Margaret, Lonergan’s second film in his two-film career as a writer/director.
Margaret’s a baggy, shapeless, engrossing story that can’t really be described except to say that you need to see it in order to talk about it. If you do see it you’ll definitely want to talk about it, the way you talk about people you know and the odd, compulsive decisions they make, and why the fuck did they do this and not that? It’s that kind of film.
Lonergan was visiting the Jameson Dublin International Film Festival to talk about screenwriting. Here’s some of the things he had to say on the subject.