Guys, I’ll be honest. I haven’t been this daunted by a review since Frozen. First you have the fact that this is an absolutely adored film with a lot of fans amongst readers of this very blog, and then you have the fact that the movie is Irish (well, an Irish-Franco-Belgian co-production) and the fact that I’m Irish (well, an Irish-Greek co-production) and that people seem to think that gives me some kind of special insight into this movie. I mean what are you expecting, that I’m just going to emerge from my turf cottage and impart some ancient Gaelic wisdom through the haze of my clay pipe?
“Yes, now quit stalling.”
Okay, okay. Special insight. Special insight. Let me see. Okay. You know that episode of the Simpsons where they’re crossing from the American embassy into Australia and Homer’s all “Look boy! Now I’m in America! Now I’m in Australia! America! Australia!” and so on and so forth? Imagine an entire culture built around that joke and you have the Irish. We’re obsessed with borders. OBSESSED. The places in space and time where one thing ends and another starts. Ask an American when summer begins and they’ll say “Ohhhh, round about Memorial day, I guess?”. Ask an Irish person when summer begins and they’ll say “01 May. Midnight. Greenwich Mean time. And not a second before.” Borders are where things get weird, where things aren’t one thing or another. Why is Halloween so creepy? Because Samhain occurs on October 31st, right when Autumn ends and Winter begins on the Gaelic calendar. It’s at times like that when the…things in the other world can cross into ours. This fear and fascination with borders runs bone deep in the Irish psyche and ties into our historic relationship with the fairy realm. My wife is a dyed in the wool atheist, but she would not enter a fairy ring if you paid her. You just don’t do that.
“IT’S COMMON SENSE PEOPLE!”
Secret of Kells is a very Irish movie, and I don’t just mean because it draws so heavily on Irish mythology, art and history and features some of the greatest Irish actors to have been claimed as British by the English media at some point. It’s obessed with lines drawn between over here and over there, between light and dark, between faith and fear and between civilization and the wild wood.
It is also feckin’ smurges.
So. Background. Secret of Kells is the product of Cartoon Saloon, which began as a loose animator’s collective in 1999 and has now produced four full length animated features, two of which have been nominated for Academy Awards. Despite this incredibly small filmography, Cartoon Saloon is already considered to be on a par with Studio Ghibli. Clearly, Irish Animation has come a long way since Daithí Lacha.
HE WAS TERRIBLE.
But is the praise justified? Yes. Is the movie as good as YES. Does it YES. Whatever hypothetical question I could ask the answer is almost definitely YES.
First dates are essentially scams. You sit down to dinner with someone you don’t know, and try to pretend that you’re someone else. Someone charming, and succesful, and definitely not into doing weird things with fish. No sir. Not you. The second and third dates are more or less the same. But by the time the fourth date rolls around you need to start being honest. That’s where you take your date on a long walk and say “Look. I really like you. I like where this is going. But if we’re going to have something together I’m going to have to tell you just how much of a freak I actually am.”
“This. This is me. This is what I get up to.”
The Marvel Cinematic Universe has essentially been a long, meticulous romancing of the mainstream. Thor is the part of the relationship where Marvel finally says “I’m glad you like the snarky businessman in the robot suit and the scientist who turns into a green monster. Now here’s where we get nuts.” As a title, The Mighty Thor has always been an unapologetically melodramatic, ridiculous, camp, epic, nonsensical, glorious, mess. In short, it is one of the purest comic books ever written. It’s huge men with long flowing hair and fabulous capes yelling cod-Shakespearean insults at each other and not understanding the difference between “thee” and “thou”.
It, quite simply, does not give a fuck.
But first, a little history.
The character of Thor was created early in the first millennium by the Germanic peoples inhabiting what is now Scandinavia. Some stuff happened. Then, in 1962, the character was introduced into the Marvel universe by Stan Lee, Larry Lieber and Jack Kirby in the pages of Tales to Astonish. There’s a little bit of confusion as to who actually came up with the idea (aside from the ancient Vikings, I mean). Stan Lee claims that the idea came to him when he realised that the only way to create a character stronger than the Hulk would be to make him a god, and that rather than go with the more well-known Greek or Roman deities he decided to delve into Norse mythology.
Meanwhile, Cúchulainn sits on the damn shelf.
Jack Kirby, on the other hand, claims that he created the character because of his love of Norse mythology and to be honest, I think the evidence is on Kirby’s side. Kirby had already created not one but two versions of Thor for DC in the golden age, so he clearly had an interest in the character. Not only that, but “comic book characters as post-industrial mythology” was kind of Jack Kirby’s whole deal. Thor’s sales have never exactly set the world on fire but this is nonetheless a character with some serious cred. There are many who consider Lee and Kirby’s run on the character the finest work of either men in the sixties (damn high praise) and he’s also had some celebrated runs, none greater than Walt Simonson’s glorious, batshit insane epic in the eighties.
This is normally the part of the review where I would say “we do not speak of the Frog of Thunder” but even this was AWESOME.
He’s also been a very consistent presence in the Marvel universe, showing up in almost everyone else’s books at one time or another and, if there’s a team of Avengers that Thor’s not on, it’s probably only because he’s dead again. He’s always been one of the company’s “faces”, one of their most visible and iconic characters. And yet, Thor has always struggled outside of comics. His live action appearances before 2011 was just a single episode of The Incredible Hulk, and he hasn’t headlined his own cartoon series since the frickin’ sixties (compare that to Spider-man, who gets a new cartoon show every time Stan Lee sneezes). Same Raimi originally pitched a Thor movie to Marvel all the way back in 1990 and from there it was dropped, picked up again, briefly re-conceived as a TV show starring Tyler Mane before bouncing to Sony, then to Paramount before finally arriving back at Marvel. The decision to nominate Kenneth Branagh to direct was surprising but also kind of inspired. Branagh is famous as an interpreter of Shakespeare for the masses, and Stan Lee is of course one of the biggest Shakespeare fanboys out there.
He made Falstaff into a superhero, people.
Branagh was the perfect candidate to make the overblown, melodramatic bluster of Thor work for a mainstream audience. Just, for the love of God, don’t subject yourself to his commentary on the DVD.
“The director’s an ass.”
Marvel knew going in that compared to Iron Man and Hulk, this movie was the real test. This is where they’d learn if a mainstream audience could really accept all the comic book nuttiness they were about to bring. It was time to see if this relationship had legs.
I’m still feeling my way around reviewing these Marvel movies. I was thinking that, when I review the first movie featuring a hero I’ll give you some history and overview of that specific character, and when the time comes to review the sequel I might take a look at their rogues gallery and what their villains say about that particular hero. Problem: Iron Man has quite possibly the worst rogues gallery of any major superhero. Notoriously so. Legendarily so. If you were to make a chart of superheroes by the quality of their rogues’ gallery it would be Batman at the top, closely followed by Spider-man and the Fantastic Four, then respectable mid-carders like Captain America and Superman and then waaaaaaaaaaaay way down at the bottom Iron Man and Wonder Woman are hanging out and getting sloshed on Ouzo. Yeah, yeah, no such thing as bad characters, only bad writers. True as far as it goes. Any villain, no matter how lame, can be made compelling with the right scribe working on them.
Some, admittedly, take more heavy lifting than others.
But Iron Man’s villains probably require more heavy lifting than probably any other hero’s. Even Tony’s arch-nemesis, The Mandarin, while certainly a cool villain, doesn’t really have that much that sets him apart from similar bad guys like Doctor Doom or Baron Mordo other than the fact that in his early days he looked like Mickey Rooney in Breakfast at Tiffany’s.
Oh sixties.
As for the rest, they were mostly just an interchangeable series of commies in robot armour and rival industrialists. I mean hell, when the time came to find a villain for Iron Man 2, they actually just slapped two of them together. Ivan Vanko is a mishmash of Whiplash and the Crimson Dynamo. And nobody even cared. Think about that for a minute. Can you imagine if they did a Batman movie and they just merged the characters of Joker and the Penguin into one guy and called him the Penker? My God, the fans would skin them alive and hang their carcasses in the online forums as a warning to others. That’s how lame Iron Man’s rogues gallery is. Not even Iron Man fans care enough to get mad about changes to the source material. But, did it work? Were they able to reverse Iron Man’s traditionally awful luck with villains? Will our hero triumph over the Penker? Let’s find out! Right after these messages.
When comic fans and writers talk about a character’s “status quo” they don’t just mean the existing state of affairs in that character’s book. The Status Quo is sort of like the Platonic Ideal of a comic character, the version of the character that everyone thinks of when they hear the character’s name. For example, Spider-man’s status quo is:
Spider-man is mild-mannered Peter Parker, who gained incredible spider powers when he was bitten by a radioactive spider during a science presentation.
He wears a red and blue spider-suit.
He lives in Queens with his elderly Aunt May.
His love interest is Mary Jane Watson.
He works as a freelance photographer for the Daily Bugle, where his boss is J. Jonah Jameson.
His life is a never ending parade of misery.
Now, you could pick up any comic featuring Spider-man since 1962 and the odds are good that at least one of those bullet points is not true for the book you’re currently reading (except the last one. That never changes). Spider-man might be dating Gwen Stacy. He might be working as a science teacher. He might not be Peter Parker at all, but instead Ben Reilly or Miles Morales or Otto Octavius or Miguel O’Hara. Aunt May might be dead again. But still, that’s the default version of the character. Whenever the comic goes off the rails, chances are they’ll return Spider-man to his roots and have him back at the Daily Bugle, back with Mary Jane, living with Aunt May. Sooner or later, he will return to status quo like he’s attached to it with a bungee cord.
The Hulk, who debuted a few months prior to Spider-man in 1962 also has a default version; When he gets angry, scientist Bruce Banner turns into the Hulk, a massive rampaging green giant with the mental capacity of a three year old who destroys everything in his path. He is a man of few words, and those words are “Hulk” and “Smash”.
This is the version of the character that everyone is familiar with, and to comic fans he’s known as “Savage Hulk”. What’s interesting about the Hulk is that I can think of very few superheroes who spend less time “at status quo” than the Hulk. And the reason for that is, there’s not really that much you can do with Savage Hulk. Savage Hulk is less a character than an event that other characters react to. He’s like Godzilla. What kind of story can you do with Godzilla? What journey can he go on? Is he going to adopt an orphaned child and raise him as his ward? No. He’s going to stomp on buildings and go “SKRONK!”. Is he going to discover a shocking secret about his past that throws everything he though he knew about himself into doubt? No. He’s going to stomp on buildings and go “SKRONK!”. Is he going to serve as an allegory for the horrors of nuclear war? Yes. While he stomps on buildings and goes “SKRONK!”
That’s basically Hulk’s problem (just swap out “SKRONK” for “HULK SMASH”) and probably why the character often had trouble maintaining a series of his own while still being a very popular guest character in the books of other superheroes. Writers have gotten around this by staying as far away from the Savage Hulk status quo as they can. Often the Hulk will be made more intelligent, or a different side of Banner’s personality will emerge as a new Hulk. Or Banner and the Hulk will merge personalities. Or they’ll swap personalities. Or the writers will huff paint and do something really stupid.
We do not speak of the time Hulk tried to bang his cousin.
Despite that, Savage Hulk retains a near total grip on the general public’s perception of the character, especially since all the non-comic depictions of the (the seventies TV Show, the two cartoon series and both movies) have been pure Savage Hulk. And the reason for that is that Savage Hulk, despite the limitations he brings from a story-telling point of view, is a fanastic concept because he is so universal. Everyone can relate to the Hulk. When we see Bruce Banner finally lose his temper and transform into a huge, rampaging monster it’s cathartic as all hell because on some level we all wish we could do that.
Following the success of Iron Man it was time for the difficult second album and Hulk seemed an obvious candidate for the studio’s sophomore effort. He was, without question, the highest profile character in Marvel’s stable that they owned the movie rights to, thanks to the success of the Bill Bixby series. But there was a problem, looming over the production like a big hulking…hulk.
In a way, it would have been easier if Ang Lee’s 2003 Hulk: A Mediation on Moss has been an out and out flop. That way Marvel could have simply said “Don’t worry, we’ll fix it! The grownups are in charge now!” and completely ignore it other than to work a few sarcastic swipes at it into to the script. But here’s the thing, Lee’s Hulk might not have been popular with comic fans but it actually did fairly decently at the box office and got not a little critical love. Personally, I appreciate what Lee was going for and think that there are some beautiful moments and really good performances but yeah, the movie is kind of a snooze fest. It has its fans though, putting Marvel in a bit of a tricky position. Should they embrace Lee’s Hulk and make their version a straight up sequel, or start again with a new origin story that firmly established their Hulk as a new, separate beast? In the end, they did neither.
At the start of every new year I make an effort to send off some plays to theatres and festivals across the world. This means once again stepping into the realm of madness, chicanery and anti-logic that is the global theatre scene. These are all (ALL!) real calls for submissions from actual theatres and theatre festivals and my reactions to them.
Read, and realise why you should raise your children to be accountants.
“Wanted: Scripts that explore our obsessions with pop and sub-culture, and that use that obsession to say something about social equity and systems of oppression.”
Would you like to save us both some time and just dictate the play you want me to write?
“One-person shows – musical, tragedy, comedy, etc. $55 entry fee. $695 participation fee if selected. Playwright receives quarter of ticket sales.”
You mean I only have to give you $750 dollars and if the show makes three thousand I’ll break even? SIGN ME UP!
“Musicals only. Playwrights must produce. $25 fee.”
“Pay us $25 dollars and we’ll give you a hernia.”
“Hard copy submissions only.”
“Yes, we know everyone uses email now and that it’s cheaper and easier both for you and us. We don’t care. We hate trees. A tree killed our dad. We won’t stop until every last one of them is dead.”
“Bold stories, writing that takes risks and plays that speak to a modern audience. No restriction on subject matter. UK based writers only.”
Oh what, your “modern audiences” who want bold writing that takes risks with unrestricted subject matter can’t handle my foreignness?! COWARDS.
“First-time and experienced playwrights are welcome. All theatrical genres accepted (including musicals). $10,000 prize.”
We are good, decent people who actually understand how this is supposed to work.
Hey everybody. Merry Christmas, Happy Hanukkah and for all you other religions…um…good luck with whatever you got goin’ on right now. Keep on truckin’. Yes it’s the night before Christmas, and despite belonging to a species that traditionally is known for not stirring at this time of year, I’ve decided to review…
“Mouse…Moooooouuuuuse…”
“Jacob Marley?”
“I wear the chain I forged in life! Link by link! Yard by yard…”
“Stop. Stop. No. Look, this is not going to be a Christmas themed review. We’re not doing the Christmas Carol thing. Sorry.”
“But it’s a tradition…”
“Yes. One that’s been done to death. Sorry, not happening. Get lost.”
“Dude, I’m a ghost, you’re going to have to do better than “Get lost!”
“Sigh. AVAUNT THEE FOUL SPIRIT! RETURN TO THE NETHERWORLD FROM WHENCE THOU CAME!”
“Oooh, nice. “Avaunt”. That takes me back.”
Right. So. Today’s movie is An American Tail 2: Fievel Goes West, a sequel to a Don Bluth movie made without the imput of Don Bluth. Now, “Sequel to a Don Bluth movie made without the imput of Don Bluth” is a sub-category of film with a slightly lower degree of prestige and respect than “Uwe Boll video game adaptation” or “hobo snuff film” and this film’s reputation is not exactly sterling.
40%?! There are Police Academy movies with higher scores than that!
So, following the stunning success of An American Tail(which, I remind you, was a big freaking deal) Stephen Spielberg wanted a sequel to be the first production of his new animation studio, Amblimation. Bluth by this time was based in Ireland and was working on The Land Before Time with Sullivan Bluth so Spielberg had to bring in a new team of animators under the direction of Phil Nibbelink and Simon Wells. Amblimation is a weird little footnote in the annals of American animation history, tapping out after only three films (this one, We’re Back and Balto). I haven’t seen Balto and I do NOT care for We’re Back...
IT DID.
…but I think Amblimation could have been a real contender under different circumstances. Why? Because, if nothing else, the animation in these movies was SMURGES. Let’s take a look.
Iron Man is one of the five most recognisable superheroes in the world today and that is goddamn insane.
From pretty much the early forties to the turn of the millennium there were only two comic book characters that everyone knew, even if they’d never picked up a comic in their lives and that was the two DC icons; Batman and Superman. And despite the fact that Marvel’s actual comics had consistently outsold DC’s for most of their history, no one Marvel character had ever managed to achieve that kind of cultural purchase with maybe the possible exception of Spider-man. And if you were to pick a character that would upend that status quo and be the first Marvel hero to achieve that kind of instant, iconic, worldwide recognition…you probably wouldn’t pick Iron Man.
Here’s the thing, for most of its existence, the Avengers was not the cool kids’ table at Marvel. The Avengers comic book was a support network for characters who needed exposure and whose solo titles weren’t doing so hot (if they even had their own books). Know why Spider-man and Wolverine didn’t join the Avengers until 2005? Because their books were selling just fine thank you very much. So the fact that Iron Man is a founding member of the Avengers and has been with the team for almost its entire history should tell you a lot. This guy was kind of a B-lister, with more than his fair share of knocks from the bad story stick.
We do not speak of teen Tony.
So how did this character go from perennial also-ran to the most recognised face of the Marvel Cinematic Universe? Sit down and I’ll learn ya.
The initial idea for Iron Man was Stan Lee’s because he is a massive, massive troll and we love him for it.
See, it was the sixties and Stan knew that most of his readers were college kids who hated the military and capitalism and bathing so he thought it would be an interesting challenge to sell them on a character that embodied all those traits.
He’s a capitalist arms-dealer in the shower. Can you handle that, hippies?
I don’t think this was really a political thing (Stan seems to be a fairly middle of the road Democrat) but simply came from Stan’s unwavering ability to find niches that hadn’t been filled yet. The great Jack Kirby did the cover and so created the character’s first visual design, and then the actual first issue that Iron Man appeared in was written by Stan’s brother Larry Lieber and drawn by Don Heck. Iron Man therefore had four daddies, which probably explains why he’s trying to form a gay polyamorous harem with Steve Rogers, Rhodey and Sam Wilson in every second piece of fan fiction featuring the character.
So why was this character chosen to launch Marvel’s massively ambitious experiment in inter-movie continuity porn? Basically, he got it by default.
By the mid 2000s Marvel had sold the movie rights to most of their major properties and were starting to feel like they were getting screwed. Sony had the rights to Spider-man, Fox had X-Men, Daredevil and Fantastic Four which combined represented a huge swathe of some of Marvels’ most iconic heroes, villains and supporting characters. When the time came for Marvel to set up their own movie studio they realised they were basically left with the Avengers who, at the time at least, were very much second stringers. It was deemed that the time was not right for another Captain America movie (too soon, we needed time to heal) and the corpse of Ang Lee’s Hulk was still warm. That left…Thor? Well, Thor’s great and all but…
Yeah, so they went with Iron Man. How did it turn out? Weeeelllllll it was one of the most critically acclaimed movies of the year, completed Robert Downey Junior’s journey from washed up recovering drug addict to A-list superstar and created the future in which we now live. But does it hold up as a movie? Let’s take a look.
Kathy wondered if she was going mad. It was a common enough condition for people like her, she knew that. When simple, basic facts like what year it was or what country you were standing on could change purely on your own whim, it wasn’t really conducive to a stable sense of reality.
No, she reassured herself. I’m not mad. I’m in shock, traumatised, psychologically scarred, neurotic and constantly on the verge of a panic attack but I am most definitely not mad.
Well. Thank goodness for that.
To be perfectly honest, in the aftermath of the bombing, she had been plagued with a horrible feeling that she was coping too well. It was almost as if there was a giant cartoon anvil of utter grief hanging overhead, to which she was totally oblivious. Only when she chanced to look up, it would come crashing down on her, crushing her with the memory of everyone she had lost.
Milo was gone. There was no way that had struck home yet. When she finally acccepted that, when she finally realised he had gone…
Or maybe she wouldn’t. Maybe this was all there was. Maybe this was all the grief that she could actually muster, and she just felt guilty because it seemed such a pitiful offering for such a terrible loss.
Maybe she was just some kind of souless machine.
Maybe she was a sociopath and didn’t know it.
Maybe she was going mad.
Maybe she was exhausted, stressed and needed some sleep.
Maybe that was it.
“Sure you don’t want me to come in with you?” Eamonn asked.
They were standing outside the door to Mariana’s home.
Know what movie I’m absolutely dreading having to review? Go on. Guess. You’ll never guess.
Seriously. You’ll never see this coming. Ready?
Land Before Time.
Toldja.
Why? Do I hate it? Do I think it’s a bad movie? Do I project some of my utter loathing for Dinosaur onto it inadvertently? No, absolutely not and yes, but I’m working through my issues with the help of friends and the love of Jesus. No, the reason is that any review of that movie has to address the elephant in the room, said elephant being the awful, awful tragedy that was the death of Judith Barsi.
I mean, you have to make note of it, and then you have to go back to reviewing the rest of the movie and cracking jokes and “Bahia! Kookaburras!” and…yeah. I don’t know how I could pull that off. Today’s movie offers me something of a dry run because it is another beloved Don Bluth film with the spectre of tragedy draped over it like a quilt (albeit not quite as awful). Elizabeth Hartman, the actor who voiced Mrs Brisby, tragically took her own life in 1987.
The Secret of Nimh was Hartman’s last major Hollywood role, a beautiful coda to a tragic career that exploded into existence with her rapturously received performance opposite Sidney Poitier in A Patch of Blue. At 22 she became the youngest woman ever nominated for Best Actress at the time but as the years went by both the roles she was offered and her problems with depression grew steadily worse. So it goes.
Since her death, Mrs Brisby has become Hartman’s defining role, to the point that amongst the movie’s fandom Mrs Brisby’s full name is “Mrs Elizabeth Brisby” (we never learn her first name in the film). And there’s no denying that the struggles of Mrs Brisby take on a special resonance when watched once you know what happened to her.
A mouse trying to stop a tractor.
As accidental analogies for the struggle with depression go, I’ve certainly heard worse.
As I went into in the Fox and the Houndreview, in 1979, Don Bluth and nine other animators left the Walt Disney company with a simple mission; to save the feature length American animation as an artform. Bluth recognised that Disney basically had not made any major innovations in their animation techniques since the studio’s near-death experience with Sleeping Beautyin 1959. Ever since then, in order to keep costs down, the animation had been cheaper, scrappier and less technically challenging. Bluth envisioned a return to the dark, moody animation of Disney’s golden age; a film that would challenge formula rather than using it as a crutch. Basically, Bluth wanted to create a Tar and Sugar movie.
This is, as the title should indicate, a big important post. Don’t worry. It’s not a “we need to talk” post, or an “I just spoke to the Doctor” post. It’s a cool one. An exciting one. It’s also one that is a little difficult to know where to begin. Firstly, you need to know about a person and you need to know about a thing. The person is this guy:
That guy is Doctor Abraham Campbell (Abey to his friends). Abey is a computer scientist currently lecturing in University College Dublin’s Chinese school in Beijing (UCD has a big campus) and probably Ireland’s foremost mind in the field of virtual reality. He’s also a buddy of mine. That’s the person. The thing is this:
In case you haven’t heard of it, that’s the Oculus Rift, the first real, high-quality, no-fooling, virtual-reality headset that is going to be commercially available for sale in early 2016. Now, there’s no way of knowing whether Virtual Reality is going to be just a weird little technological gimmick or a game changer like the smartphone. But we’re going to find out. Soon. This is happening. Abey, who incidentally is the smartest human I know by a significant margin, is betting on the latter. His goal, as he’s told me before, is that one day he’ll be able to hand a headset to someone in Sub-Saharan Africa that will contain an entire third level education. He’s also working on a holographic version of himself that he can broadcast to China so that he doesn’t have to leave home to teach his classes and yeah, I’m just going to play the music now.
So, why am I telling you all this? Well, because there’s no point in buying a SNES if there’s no Super Mario to play on it. The platform needs media.
Last year, the readers of this blog helped to fund Joanna, my play about a vigilante who savagely murders rapists as an avatar of the breakdown of civilized society caused by the betrayal of the social contract inherent in the justice system’s complete impotence in dealing with the crime of rape (It’s a comedy). One of the people who saw that play was Abey, and he approached me with an extremely exciting idea. Short version:
We’re turning Joanna into the world’s first full-length, mature virtual reality film.
This is potentially historic. This could, quite literally, be The Jazz Singer of the Virtual Reality era.
…
This could, quite literally, be the Steamboat Willy of the Virtual Reality era.
Much better.
Throughout the summer Abey, myself, our extremely talented cast and crew and our director Jeda De Brí have been shooting tests scenes and experimenting with how this whole thing works. I’ll be doing follow up posts where I talk about the challenges of filming in 360 degrees and what we’ve learnt but the short version is this; we are now ready to create something that is thrilling, terrifying, and totally unlike anything else you’ve ever seen. And what’s more, you won’t need an Oculus Rift to view it (although that will certainly give you the best experience). With a decent smartphone and headset you will be able to experience Joanna for yourself. How do you get a headset? I’m getting to it (told you this was a long post). Below you can see our Kickstarter video. The Kickstarter page hasn’t gone live yet so you guys are actually the first outside of the production to see this. (Oh, and there’s some guy we hired to stand in for me because Abey thought that anti-rodent prejudice might affect our ability to raise money and like a coward I listened).
Abey, Jeda, myself and our associated henchpersons have set up a Kickstarter page so that you can give us your money to fund this exciting endeavour. For as the Bible says, is money not the root of all evil? Better off without it, I say, we’ll take care of it for ya. And, as is customary, we will be offering rewards for donations. These are cumulative, with a new reward added to each level which I’ve put in bold. They are as follows:
$1– A thank you, sincere and genuinely felt.
$5– Your name in the credits.
$10- Now we’re talkin’. You get to download your own copy of the movie. (FYI you’ll need a smartphone with a four inch display that can play mp4s.) Plus your name in the credits.
$25-All of the above plus a limited edition Joanna Google Cardboard viewer for a better viewing experience.
Summit like this.
$40- A digital download of the movie, the Google Cardboard viewer, your name in the credits and a movie poster signed by the cast, director and author.
$60- A digital download of the movie, the Google Cardboard viewer, your name in the credits and a movie poster signed by the cast, director and author and a signed Joanna screenplay.
$75- Now we start getting fancy. You get the movie, your name in the credits and a movie poster signed by the cast, director and author and a signed Joanna screenplay. And you get a snazzy as bejaysus plastic limited edition Joanna VR viewer.
Snazzy. As. Bejaysus.
$100- A digital download of the movie, your name in the credits, signed movie poster, signed Joanna screenplay, snazzy as bejaysus plastic limited edition Joanna VR viewer and a Joanna T-Shirt.
$150- A digital download of the movie, your name in the credits, signed movie poster, signed Joanna screenplay, snazzy as bejaysus plastic limited edition Joanna VR viewer, Joanna T-Shirt and an assessment of your script by our director Jeda DeBrí and our author Neil Sharpson (currently under contract with the Abbey Theatre, Dublin). They’re very constructive and super nice (usually).
$250– Everything on the $150 level plus get out your fanciest duds ‘cos you’re comin’ to the wrap party in Dublin!
$300- Get those fancy duds out a second time because you’re coming to the premiere! Plus, digital download of the movie, your name in the credits, signed movie poster, signed Joanna screenplay, snazzy as bejaysus plastic limited edition Joanna VR viewer, Joanna T-Shirt, an assessment of your script by our director Jeda DeBrí and our author Neil Sharpson and you’re coming to the wrap party.
$500– You get to be part of the Beta, testing footage on Oculus Rift. You’ll get behind the scenes footage and see the film two weeks before it’s released to the public. Plus, you get everything at the $300 level.
$1000- As you are clearly someone we want to be pals with, how about you come on set and watch us film? Filming will take place in late January/Early February. Come, meet the cast and crew and let us answer any of your questions about VR technology and filming. And of course, you will also get to be part of the Beta, an invite to the wrap party, an invite to the premiere, a digital download of the movie, your name in the credits (probably in big flashing lights), a signed movie poster, a signed screenplay, snazzy as bejaysus plastic limited edition Joanna VR viewer, Joanna T-Shirt , an assessment of your script by our director Jeda DeBrí and our author Neil Sharpson and a partridge in a pear tree*
*Subject to very limited availability.
***
So yes. I’m asking you for money. And as usual, that can only mean one thing:
MOVIE DEATHMATCH!
On November 23 when the Kickstarter page goes up, I will post the 12 movies and TV series that have been selected to compete this year, along with a guide as to how voting will work this year so be sure to check in for that.
So. Yeah. I know it’s all a lot to take in. Also, please share this far and wide. Know somebody who’s interested in VR? This is a really inexpensive way to get their hands on some cutting edge tech, so let them know. Know someone who’s big into gritty female-led drama? This might be for them. Please help us get the word out make this as big as it can be. Any questions, let me know.
unshavedmouse 