AAAGH! Steampunk Mrs Tinkle

AAAGH! Steampunk Mrs Tinkle

A new AAAGH!, this one featuring Vastra and Jenny from A Good Man Goes To War and the giant rat from The Talons of Weng-Chiang. It was published in issue #270 of Doctor Who Adventures, which was in shops until yesterday. The script is by me, the art by Brian Williamson and the editing by Paul Lang and Natalie Barnes - who gave kind permission to post it here. You can read all my AAAGH!s. Steampunk Mrs Tinkle will return in two weeks.

Three Footnotes from Cosmos

Thanks to lovely Abebooks, I'm now the proud owner of a battered paperback of Carl Sagan's Cosmos and a battered hardback (without dust jacket) of James Burke's Connections – and both for less than a fiver, including P&P. Bargain.

I've been working my way through the TV version of Connections on Youtube and will blog about it more when I get to the end (at my current rate, sometime towards the end of the century). But for a flavour of its style and confidence, you can't beat this extraordinary piece to camera:



I've not seen all the TV version of Cosmos but a lot of the material was covered in my astronomy GCSE, so reading the book has been a bit of a refresher course. It's a history of science, similar to The Ascent of Man, but focusing on our knowledge of astronomy.

It's striking how much has been learned and achieved in the 30 years since the book came out. Sagan details Voyager's exciting new discoveries about the Galilean moons but can only guess at the nature of Titan. He enthuses about the possibility of sending roving machines to explore Mars. He speculates on the causes of the Cretaceous-Tertiary extinction event (which wiped out the dinosaurs), but doesn't mention the possibility of a large meteorite hitting the Earth. That's especially odd given that elsewhere he talks about the probabilities of large meteorite impacts, such as in Tunguska in 1908.

Sagan packs in fascinating titbits and detail, such as Kepler's efforts to save his mum from being tried as a witch. Excitingly, it's got footnotes instead of endnotes (and an index – so top marks all round), which means plenty of extra nuggets of fact to explode your brain.

For example, Sagan talks at one point about the scale of the Solar System, reminding us that, in terms of our ability to traverse it, the Earth was once a much bigger place. And then he drops in another striking analogy:

“In the seventeenth and eighteenth centuries you could travel from Holland to China in a year or two, the time it has taken Voyager to travel from Earth to Jupiter.* 

* Or, to make a different comparison, a fertilized egg takes as long to wander from the Fallopian tubes and implant itself in the uterus as Apollo 11 took to journey to the Moon; and as long to develop into a full-term infant as Viking took on its trip to Mars. The normal human lifetime is longer than Voyager will take to venture beyond the orbit of Pluto.”

Carl Sagan, Cosmos, p. 159. 

Like James Burke, Sagan is good at making a connection between two apparently disparate things to create a sense of wonder. But I like how the last sentence of the following footnote so lightly declines to impose or invent a reason:

“The sixth century B.C. was a time of remarkable intellectual and spiritual ferment across the planet. Not only was it the time of Thales, Anaximander, Pythagoras and others in Ionia, but also the time of the Egyptian Pharaoh Necho who caused Africa to be circumnavigated, of Zoroaster in Persia, Confucius and Lao-tse in China, the Jewish prophets in Israel, Egypt and Babylon, and Gautama Buddha in India. It is hard to think these activities altogether unrelated.”  

Ibid., p. 206.

And, again like Burke, Sagan is good at accounting for chance and circumstance in the slow, steady progress of science through the ages. He uses a Tlingit (Native American) account of meeting the French explorer Count of La Pérouse when he “discovered” Alaska in the 1780s to discuss what first contact with an alien culture might be like. But, explaining that La Pérouse and all but one of his crew died in the South Pacific in 1788, Sagan notes:

“When La Pérouse was mustering the ship's company in France, there were many bright and eager young men who applied but were turned down. One of them was a Corsican artillery officer named Napoleon Bonaparte. It was an interesting branch point in the history of the world. If La Pérouse had accepted Bonaparte, the Rosetta stone might never have been found, Champollion might never have decrypted Egyptian hieroglyphics, and in many more important respects our recent history might have changed significantly.” 

Ibid. p 334. 

Three short asides, additional to the main narrative, and you could base a science-fiction novel on each of them. Yet the thing that's stayed with me most since I finished the book earlier this week is his reference to the 1975 paper “Body Pleasure and the Origins of Violence” by James W Prescott:

“The neuropsychologist James W. Prescott has performed a startling cross-cultural statistical analysis of 400 preindustrial societies and found that cultures that lavish physical affection on infants tend to be disinclined to violence ... Prescott believes that cultures with a predisposition for violence are composed of individuals who have been deprived – during at least one or two critical stages in life, infancy and adolescence – of the pleasures of the body. Where physical affection is encouraged, theft, organized religion and invidious displays of wealth are inconspicuous; where infants are physically punished, there tends to be slavery, frequent killing, torturing and mutilation of enemies, a devotion to the inferiority of women, and a belief in one or more supernatural beings who intervene in daily life.” 

Ibid., p. 360.

I'm fascinated by this, but can't help wondering if that conclusion isn't too much what we'd like to believe to be true. There's something chilling, too, in the lightness with which he seems to suggest that organised religion is a symptom of childhood neglect.

AAAGH! A Silent in the Library

AAAGH! A Silent in the Library

Another AAAGH!, this one from issue #269 of Doctor Who Adventures, which was out in shops until yesterday. It may owe a little to the episode Silence in the Library, only with a different sort of Silence. Don't worry, the references get much more obscure in the coming weeks...

As ever, it's written by me, drawn by Brian Williamson and edited by Natalie Barnes and Paul Lang - who gave permission to post it here. You can also read all my AAAGH!s.

Next time (and in shops at the moment): Steampunk Mrs Tinkle.

The end of analogue

Goodbye to all that

A spectacularly nerdy post, this. But of marginal interest to archaeologists of the future...

When I bought my flat in 2005, my parents decided it was probably time that I stopped using my old bedroom at their house as a store for my old sci-fi rubbish. One afternoon, my dad drove up with lots and lots of books and two bin bags full of videos. Ah, I can still remember the delighted look on the Dr's face...

(It was not a delighted look on the Doctor's face.)

For readers born after the Flood, video was a slower, chunkier versions of DVD, with a more gravelly image and no special features. (Well, some of the later ones and very brief ones, or came with a separate video providing a commentary track.)

My collection of videos sat in my attic, building up an impressive collection of dust and dead spiders, for the five years I lived in that flat. I gave some away when I could find someone who wanted them. But when we moved home last year, I still had a whole binbag of tapes and nothing to watch any of them on.

I'd looked into selling the tapes, or sending them to people who asked for them, but the hassle of actually packing the damn things kept meaning I never quite got round to it. Videos are heavy, so any kind of postage was going to be stupidly expensive.

But on Sunday, a nice man from the local RSPCA shop came round and took the lot. Having also posted back a tape I borrowed from Ian Potter an aeon ago (with no actual way of watching it), as of Monday - and for the first time since 1984 - I live in a home without videotape.

Yes, I know it's not exactly the most exciting watershed moment in all history, but once the tapes had been taken I must have looked suitably forlorn 'cos the Dr gave me a hug.

(If you want them, the videos will be in the new RSPCA shop opening next month at 267 Lower Addiscombe Road, Croydon, CR0 6RD.)

"Trying not to break things..."

Will Barber has interviewed me for the Cult Den about the Doctor Who and other things I have written.

The Man Who Made Love To Her

The Spy Who Loved Me (1962) is a really unpleasant book. It's told in the first-person by Vivienne Michel, a young woman running away from her life in England who gets caught up in a nasty scam. The preface says:

“It's all true – absolutely. Otherwise Ian Fleming would not have risked his professional reputation in acting as my co-author and persuading his publishers to bring out our book. He has also kindly obtained clearance for certain minor breaches of the Official Secrets Act that were necessary to my story.”

Ian Fleming, preface to The Spy Who Loved Me. 

 Perhaps this attempt at realism explains the rather mundane plot. After the outlandish fantasies of the last few Bond books, this feels rather pedestrian. Vivienne is taking care of the Dreamy Pines Motor Court in the north of New York State while the owners are away – but the owners are really planning to burn the place down and claim the insurance, blaming the dead Vivienne for the “accident”.

Alone and without protection, Vivienne opens the door to two tough hoodlums sent to do the burning – and they thing they might enjoy this girl before murdering her. But then, by chance, a British secret agent just so happens to show up...

Modern, bratty and naïve, Vivienne is quite a departure from previous Bond girls in the books. The first third of the book recounts a rather tawdry love affair in Windsor, with a posh boy who dumps her as soon as he's had his wicked way. It's surprisingly explicit about her first sexual experience, with none of the usual romance and fantasy. She and her lover – Derek – are caught in the act and thrown out of the local cinema, and then get asked questions by a policeman. The sex itself is awkward and uncomfortable.

Vivienne then runs away from England – but nothing changes: she's still the prey of callous men who only want to use her. As a result, the book is all about her as hapless, helpless victim. There's always been a sadistic streak in Bond books, but with the violence focused on Bond himself. He's a tough, determined secret agent, able to defend himself and win despite what's done to him, so the sadism makes him more of a hero. Here, it only makes Vivienne more of a victim.

This means more than that she's just a weak character. I've said before that the best Bond girls are as tough and resourceful as any man. The tougher it is for Bond to impress them and get them into bed, the more that is an achievement (and, as in Moonraker, he's not always successful). So Vivienne's weakness makes Bond look less cool and the book less exciting.

It also doesn't help that Bond arrives to rescue her from the hoodlums quite by chance – on the way home from a far more exciting-sounding story, working with the Mounties to keep a Russian defector called Boris safe from a SPECTRE assassin. It would have been simple enough to connect the hoodlums to SPECTRE, and make Bond's arrival part of his case. The coincidence kills the “realism” that Fleming has otherwise aimed for.

As it is, there's some odd business as Bond has coffee and makes small-talk while the hoodlums try to look innocent. Why don't they just shoot him and get on with their job? Instead, Bond pretends to go to bed, sneaks round and shoots them before they can carry out their threat on Vivienne. She falls gratefully into Bond's arms, but the tone of what happens next is no less nasty:

“All women love semi-rape. They love to be taken. It was his sweet brutality against my bruised body that had made his act of love so piercingly wonderful. That and the coinciding of nerves completely relaxed after the removal of tension and danger, the warmth of gratitude, and a woman's natural feeling for her hero. I had no regrets and no shame. There might be many consequences for me – not least that I might now be dissatisfied with other men. But whatever my troubles were, he would never hear of them. I would not pursue him and try to repeat what there had been between us. I would stay away from him and leave him to go his own road where there would be other women, countless other women, who would probably give him as much physical pleasure as he had had with me. I wouldn't care, or at least I told myself that I wouldn't care, because none of them would ever own him – own any larger piece him that I now did. And for all my life I would be grateful to him, for everything. And I would remember him for ever as my image of a man.” 

Ian Fleming, The Spy Who Loved Me, p. 154. 

So the title is a lie. Bond doesn't love her but uses her – as all the other men in her life have, or have tried to – and drives off the next morning, leaving her a note rather than saying goodbye. A more accurate title might be “The Man Who Made Love To Me”. True, he squares things with the police so she won't be in trouble and can collect reward money, but that's surely the least he could do.

And Vivienne's point about no girl ever having more of Bond than she did isn't true, either. In the very next book, On Her Majesty's Secret Service, James Bond meets his wife. And it's one of my favourites...

AAAGH! The very hungry Master!

AAAGH! from Doctor Who Adventures #267 - the very hungry Master

Another silly AAAGH! from Doctor Who Adventures #267 and inspired by a certain caterpillar and this. As ever, it's written by me, drawn by Brian Williamson and edited by Paul Lang and Natalie Barnes, who gave kind permission to post it here. You can also read all my AAAGH!s.

Next time: A Silent in the Library!

Tales from the TARDIS

Out in shops now is Ace Adventures DVD box, with two Doctor Who stories featuring the Seventh Doctor and his friend Ace. Among the jam-packed jamboree of extras, there's The Doctor's Strange Love, in which me, Joseph Lidster and Josie Long rabbit on about what we like about the first of Ace's stories, Dragonfire. Thrillingly, we got to shoot it out in time and space...

Me, Josie Long and Joe Lidster in the TARDIS.

The photo Joe took.

"There are worlds out there where the sky is burning..."

"What are you young people doing in my TARDIS?"

Whacky Lidster, thumbs aloft.

Our "Radio Times" shot.

Gillane and James, who made our wish come true. Plus my knee.

I look really bald in this one.

What they thought, felt and said

David Lodge’s A Man of Parts is a novel about the life of HG Wells, particularly his sex life. It’s a fascinating, lively read, vividly capturing Wells and the literary and social worlds he moved in. I’ve found it hard to put down, despite a continuing frustration with the book’s two authors – Wells himself and the way Lodge tells the story.

Generally, it’s excellent, such as when detailing Wells’ argument with the Fabians – here a bunch of well-meaning middle-class liberals who want to bring about socialism in Britain, but not so soon as to affect their own cosy standard of living. Wells is much more impatient to bring about social revolution and welfare, what with the practical experience of his youth.

“It wasn’t real poverty. We never starved, but we had a poor diet, which stunted my growth, and made me susceptible to illness. We never went barefoot – but we wore ill-fitting boots and shoes. It was a kind of genteel poverty. I was never allowed to bring my friends home to play because they would see that we couldn't afford a servant, not even the humblest skivvy, and word would get around the neighbourhood. My parents scrimped and saved so they could send me to the cheapest kind of private school, and avoid the shame of a board school, where I might have had better-trained teachers.”

David Lodge, A Man of Parts, p. 45. 

It’s a revealing portrait of a lower middle-class existence, all too aware of and aspiring towards a better social standing. But the real skill is in how this description echoes later. Without making a direct link to this earlier passage, Lodge describes Wells – as an established author – wooing the socialist Fabian Society with his essay, The Misery of Boots (1908). There, he uses a working man's ill-fitting boots – the pain and discomfort caused, the effect on the man's posture – to show how poverty defines a person's outlook and ambition, going on to deplore the preventable misery of social injustice and call for the end of private property.

Later still, the dying Wells concludes that the Labour party of 1945 is a creation of these same Fabians, still – despite their campaign for a welfare state – in no rush to deprive themselves of comfort. Even if that was what Wells thought at the time, it sits oddly given that the Labour government brought in such radical social change and nationalisation in the post-war years. They did the things Wells complains they will not do.

I suspect that Wells' remarks are aimed less at his own time as the (New) Labour party of today. Lodge is keen to underline Wells' continuing relevance to us, and the book ends with a rather clumsy metaphor about this common man prophet. On learning of Wells' death, Rebecca West remarks (through Lodge) that Wells was not a meteor who burned brightly once but a comet in a long orbit, whose time will come again. 

There's plenty of evidence that Wells was ahead of his time. He lived to see the reality of things he predicted decades before – aerial bombardment of cities and the atomic bomb. But the book credits him with more than he can really have claim to, such as in this clunky bit of wordplay:

“I imagined an international Encyclopaedia Organisation that would store and continuously update every item of verifiable human knowledge on microfilm and make it universally available – a world wide web of information.”

Ibid., p. 485. 

That’s not really a web so much as a centrally controlled giant library. And that word “verifiable” doesn’t exactly describe much of the internet as we know it. I’m wary, anyway, of a writer's worth being judged by how much he guessed correctly. Wells also dreamt up a time-travelling bicycle and invaders from Mars, and those novels are no poorer because they did not happen in reality.

For a writer of books ‘of ideas’, Wells’ story is full of human drama which Lodge has mined for psychological detail. We really get under Wells' skin. One highlight is when Wells – himself causing a stir for promoting and living ‘free love’ – discovers that the pious, conservative Hubert Bland (husband of children's author E Nesbit) who opposes him is a serial womaniser whose household includes two children born out of wedlock to his maid. We, too, have come to love the Nesbits and their home, and we, too, feel the vicious betrayal of this hypocrisy.

Yet having followed Wells’ life in detail up to the 1920s, we then rather skip on to the end. The death of his loyal wife Jane is little more than an aside, which is an extraordinary and glaring omission. It's remarked on merely when Wells fears going through his late wife's things and finding evidence that she have had a lover of her own. That's especially strange given how much she's supported him – in his work and his affairs. There's little on what he thought or felt in her final days, or how her illness affected him or made him rethink what he'd done.

Perhaps that would detract from Lodge's sympathetic portrait of Wells, or perhaps Lodge loses interest in Wells once he's peaked as a writer. It seems odd to brush over a decade of the man's life then attempt to sum the whole of him up.

Lodge's Wells is defined by his frustrations – sexual, political and artistic. There's a telling admission in the closing pages:

“I was outwardly successful – ‘the most famous writer in the world’ – but inwardly dissatisfied. The praise I got was not the kind I wanted or from people I wanted to get it from. It made me arrogant and irritable – I was aware of that, but I couldn’t control myself at times.” 

Ibid., p. 499. 

But I think the most telling statement is Lodge's own, before the novel begins:

“Nearly everything that happens in this narrative is based on factual sources – 'based on' in the elastic sense that includes 'inferable from' and 'consistent with'. All the characters are portrayals of real people, and the relationships between them were as described in these pages. Quotations from their books and other publications, speeches, and (with very few exceptions) letters, are their own words. But I have used a novelist's licence in representing what they thought, felt and said to each other, and I have imagined many circumstantial details which history omitted to record.”

David Lodge, preface to A Man of Parts.

There's something deceptive about these words. It's as if what these people thought, felt and said is just a slight embroidery on the solid, historical facts. But invented motives don't just frame what happened, they shape our whole perception of the man and his world. This is not simply a literary biography but a novel with Wells a character of Lodge's own invention, thinking and feeling what Lodge wants him to feel.

The book is a fascinating, compelling story full of great anecdotes and insights. But I couldn't shake the sense that it's more about Lodge than it is Wells.

AAAGH! at the beach!

AAAGH! at the beach

More AAAGH! silliness from Doctor Who Adventures, this time from issue #266 and featuring a Sea Devil, a Marshman and a Haemovore, plus a Pyrovile from James Moran's The Fires of Pompeii. As ever, it's written by me, drawn by Brian Williamson and edited by Paul Lang and Natalie Barnes - who gave kind permission for me to post it here. You can also read all my AAAGH!s.

Next episode: the very hungry Master.

Doctor Who and the Grontlesnurt Horror

Doctor Who and the Grontlesnurt Horror by me

The new issue of Doctor Who Adventures, out today, features this comic strip written by me and illustrated by the amazing John Ross - who's produced every episode of the weekly Doctor Who strip for the mag since it began in 2006.

Revealing Diary - a short film by the Guerrier brothers

SFX exclusively reports that the Guerrier brothers and a handsome gang of desperadoes made a short science-fiction film, Revealing Diary. You can watch it here:

 

We’re really pleased with the film, which was made as part of Sci-Fi London’s 48-hour challenge (#sfl48hr) – though a last-minute technical hitch meant we missed the deadline.

That’s especially frustrating given the hard work of the cast and crew – who gave their time for free – and the amount of preparation that my brother Tom and I put into it. But we weren’t alone: of 368 entrants, 161 films were submitted. In the hope it helps future entrants – or just because it's of interest to anyone else – here’s what we did and how it went wrong.

I've included links to the cast and crew's Twitter accounts where available. They were amazing and you should give them paid work.

Spoilers obviously follow. Watch the film before proceeding. 


HOW WE PREPARED
The competition is to write, shoot and complete a film of between three and five minutes within 48 hours, based on elements given to you at 11 am on the Saturday morning: your film’s title; a line of dialogue; a prop; and an optional scientific theme.

“The 48 hours begins from when all teams have their brief (around Noon on April 14th) and all the creative work must take part in that time period. The only pre-production permissible is the organising of cast and crew (the Team), securing equipment and scouting for possible locations.”

Rule 12 of the 48 hour film challenge rules 

Tom (the director, @guerrierthomas) and I had talked about the 48-hour challenge before, but started to get serious on 28 March, when Tom emailed to ask if I was free the weekend of 14-16 April. I was, so that was that: we’d do it.

Pre-planning in Starbucks

Over the next week, we read the challenge rules, spoke to friends who’d taken part before and watched lots of previous winning and not-winning entries. We made notes on what we saw, and on what we could do that might help our film stand out.

A lot of previous films were set in apocalyptic ruins or wastelands. A lot were very bleak and graded brown and grey. A lot starred men who looked like Tom and me (30-something nerds who needed to shave and spend more time in the gym). So we wanted something present-day, colourful and chirpy, and with prominent roles for women.

Since we – as filmmakers – had to respond to whatever brief we were given, I suggested setting our story in a TV studio. Our characters would be hosting a live, cool show and then respond to some sci-fi event. They might get reports of a plague or alien invasion, or they’d interview the boffin behind some new invention. We gambled on me being able to make that setting work whatever we were given.

Tom planned to shoot most if not all of the film on the Saturday afternoon and evening. If need be, we could shoot a small amount on Sunday morning, but we’d need to wrap by lunchtime so that he could concentrate the remaining hours on the edit, sound mix and grading before delivering the completed film on Monday morning. Again, we gambled that I’d be able to write within that plan.

As our stars, I suggested two actresses I’d worked with since 2008 on Doctor Who and Graceless audio plays for Big Finish (@bigfinish). I rang them both on 4 April and they agreed to take part. My tentative plan was that Ciara Janson (@CiaraJanson)would be a presenter on the TV show and Laura Doddington (@LDoddington)her director.

Tom suggested the other three actors, though we wouldn’t know who they’d play until we got the brief. Once I knew we had Anton Romain Thompson (@This_Is_ART) and Adrian Mackinder (@AdrianMackinder) onboard, and James Rose just for the Sunday, I made notes on possible roles they might play.

For example, Anton was eventually Ciara’s co-presenter, but he could have been a guest – either showing off an invention or giving a first-hand account of some sci-fi event. We asked Adrian to bring a suit to the filming because I thought he might be Laura’s executive producer, arriving in the midst of the crisis and ordering her to change the content of the show… This was as much as I could prepare in advance for whatever brief we got.

Tom also pointed out that a lot of the previous winning films had at least one striking special effect. Tom worked in special effects before becoming a director, so we discussed the kinds of simple but striking effects that were feasible. He made sure our crew included CG supervisor Chris Petts (@ChrisPettsVFX), as well as a strong art direction team in Simon Aronson (@TheMakingSpace) and Gemma Rigg (@MUTEtheFILM). Again, that kept our options open.

I’d had a TV studio in mind for the shoot but it wasn’t available. Tom and I called round various contacts looking for alternatives. On the Tuesday and Wednesday before the challenge, me, Tom and Sebastian Solberg (our Director of Photography, @SebSolberg) visited three possible locations – all working TV studios. Millbank Studios offered us eight hours from noon on the Saturday. At first, this was for more than our budget would allow but they thankfully then offered us a discount.

To give the film a sense of scale, we provisionally planned three ‘sets’ – the studio, the gallery and a green room. Tom suggested that the green room scenes would not need to be recorded at Millbank – where we were on limited time. If those scenes were kept short, we could use another, cheaper location on the Sunday morning. I begged use of a meeting room at the Petrie Museum of Egyptian Archaeology, UCL, which would need minimal set dressing – just a table with a mirror.

Tom planned to have an editor assemble footage while we were still shooting on Saturday and then work through the night, so that we’d have a rough edit of the whole film relatively soon after wrapping on Sunday. We would have a finished edit by about 10 pm.

Tom and I would then stay up Sunday night and Monday morning while the sound design by Tapio Liukkonen at Kaamos Sound, soundtrack by Matthew Cochrane (@matcochr) and grading were completed. It was a tight schedule, but we had a certain amount of “give”. The whole thing had to be made in 48 hours but we were determined to produce a high-quality short.

We were still calling round for crew on the Friday evening – several people were keen but had other commitments, while others (understandably) wouldn’t work for the terms we could offer. Some people could only work one of the two days, or only for a part of the day. But finally we had a full team, including Natasha Phelan (@natashaphelan) as 1st assistant director and Simon Belcher (@nimbos) as sound recordist.

Our crew was largely made up of professionals working in TV and film. Two members of the crew had worked on 48-hour films before. We felt we were as prepared as we could be. But I still hardly slept the night before…

We agreed to meet the cast and crew at 11 am at the Pret down the road from Millbank. I took my laptop, with Final Draft loaded on to it.

OUR BRIEF
I had to write the film based on the brief we were given. Tom received our brief by text message at 11.05:

Title: Revealing Diary

Line: I should probably leave around Noon to be safe… Can you make that happen  

Prop: “Sketch: We see a character write a list of 6 words, the first word beginning with R (does not need to be a name or real word) – they then do a small doodle by the last word”

Optional: Man in coma explores mind as environment 

Once we got the text message, I had to act quickly, deciding the rough outline and what roles the actors would play. Our costume supervisor Becky Duncan was only available that morning, so once she had a rough brief from me, she quickly took Ciara and Laura up the street to go shopping in Primark. I sat typing the script at my laptop while Tom and the crew discussed how they’d shoot my story. We agreed that Simon A would provide us with a fake book and a trick mirror.

At noon we moved from Pret to Millbank Studios, where the crew prepared the “set” for filming. They asked me questions as I worked – such as what the live TV show would be called. I needed an answer on the spot. Our given line of dialogue said “by Noon”, so it had to be a late morning show. I suggested “Late Wake Up” and Tom rang Alex Mallinson (@HelloAlexBam) who quickly emailed over different graphics to choose from.

The set of Late Wake Up

By half twelve, I had a first outline of the script, which Tom read through and made notes on. By one, he’d agreed the script, and Ciara and Laura had their costumes. Tom led us through to the TV studio “set” where the actors read-through what I'd written, with me doing the stage directions. The cast and crew asked questions and clarified some points, we read it again, and by half one we were ready to start filming…

SHOOT
Sebastian (our DoP) shot the film on a tiny, handheld Canon 60D and used a Glidecam 2000 to keep the shot steady. He and Tom went through the shots while I was still writing, working out an opening shot to play the titles over. They went for a fairly standard shooting style, playing the scenes out in their entirety, starting with wides and then shooting close-ups.

Shooting

We shot everything twice – given the limits on us, that was the quickest and safest way. We shot quickly, Tom keeping the atmosphere friendly and fun – as you can see from the photos. The first scene took several hours to complete, the longest part of the short. It was quite dialogue heavy, which takes longer to shoot and cut – a lot of competition films had kept the dialogue to a minimum. We made it work because the rest of the film (effectively two scenes) were more visual and could be put together quickly.

Everyone mucked in. Most of the crew appear on screen at some point as extras. There wasn't much need for Chris' VFX brilliance while we shot, so he played the most prominent cameraman. Even Gary, the technician supervising us, had a role in our last shot – that all helped make the film look more expensive.

Chris, Laura and I all took turns holding the boom mike – it's not heavy, but holding it high up and out over the actors is knackering.

Meanwhile, Gemma and Simon hurried to the nearby Oxfam Bookshop to buy a hardback book that Adrian's character could plug on the show. Simon then battled technology to produce a bespoke dust jacket, with Adrian's best photo on the back.

Shooting the green room scenes

Sunday’s shoot at the Petrie museum should have been quicker, but we’d not anticipated the complexity of the effects shot – and weren’t ready to start filming until after our 1 pm deadline. I'd already agreed to provide some writing work for the museum on a quid pro quo basis. Tom negotiated an extension on the shoot by offering to do some video editing.

The delay was worth it as soon as Gemma and Simon presented the trick effect, and once we were filming we got through the material quickly. We were wrapped and packing up by 3.

We decamped with all our kit to the Marlborough Arms round the corner for much-needed late lunch – and beer. It had been a brilliant, fun shoot, the cast and crew a delight to spend the weekend with.

Tom called the editor to ensure things were on schedule, then stayed for an orange and lemonade with the crew.


THE EDIT – AND CRISIS
Tom and I took a cab to the “unit base” (Genium Creative, the office where Tom works. The editor hadn't finished the edit of all Saturday's footage, so Tom worked on editing the Sunday material and I made a quick dash home.

Having fought the Sunday service on public transport, I was back for half 9 and the takeaway Tom had ordered. Things were going well – and the footage looked amazing.

But as we tried to put the footage from both days together, we discovered a problem with the synching. The more we tried to trace the fault, the more embedded it appeared. Then the computers crashed. At 11 pm – 12 hours from the competition deadline – we effectively had to start the edit again from scratch. We had lost 24 hours of edit time from the 48-hour schedule.

Tom ploughed on anyway, finding me tasks to do such as making tea and compiling the credits. The editor left us at midnight – the time we'd always agreed he would work to.

That was our main failing. If we were doing this again, we'd make sure we had more than one person able to edit footage working through the final night. It would help if I knew how to do some basic assembly – I've since read Roger Corman's advice that the crew should all be competent in every part of production.

The morning wore on. Tom had worked for six hours non-stop when we took stock of the situation. We were both tired, and there was still a lot of work to do. We would be able, Tom thought, to deliver a rough edit of the material to the competition – the scenes in the right order, with basic sound and no grading. Or we could miss the deadline and finish the film later in the week, properly.

We drown our sorrows at 7 am

We made the decision to hold off and, exhausted, went for breakfast and then home to bed. Later in the morning, Tom emailed the cast and crew to tell them what had happened. Everyone was very supportive – again, a testament to the sense that we'd made something good.

In the next few days, Tom worked on the film, fitting it round other commitments. In principle, he tried to finish it within the time we felt we'd lost, the new cut taking him 12 hours in total. That self-imposed limit proved less practical when it came to tweaking the edit and working on the grade and sound.

It was frustrating to miss the deadline, but we don't regret a thing. We'd strongly recommend taking part in the 48 hour competition, whatever your experience in film-making. Apart from the technical problems at the last minute, we had a brilliant time making our film and have learned a lot that will be very useful on our future projects. We're already planning our next films.

We didn't submit Revealing Diary to the competition because we thought it was a good film in its own right and wanted to finish it properly. We're proud of what we achieved and very grateful to all those people who gave their time and expertise for free.

Sci-Fi London has announced the shortlist of top 20 films from the competition and the winners will be announced this Sunday. Congratulations to them – and to everyone who completed their films on time. We appreciate what an achievement that is.

Simon Aronson has posted more photos from the shoot.

AAAGH! and Mr Stinkle

Another daft AAAGH!, this one from Doctor Who Adventures #264. As ever, it's written by me with art by Brian Williamson and edited by Natalie Barnes and Paul Lang - who gave kind permission to post it here. You can also read all my AAAGH!s.

AAAGH! will return in a couple of weeks with The Very Hungry Master.

AAAGH! and the alien delegates

AAAGH! meets the alien delegates from The Daleks' Master Plan - a reference to a Doctor Who story from 1965-6 that's largely missing from the archive, so perfect for our 8-12 year-old readers. It featured in Doctor Who Adventures #263, out last week.

The art is by clever Brian Williamson, the editing by Paul Lang and Natalie Barnes - who also gave kind permission to post it here. You can read all my AAAGH!s.

Next episode: the history of Mr Stinkle.

Zoe again

Those splendid souls at Big Finish have announced that I've written another Doctor Who story for the Second Doctor, as told by Wendy Padbury (who plays companion Zoe). The new story, The Uncertainty Principle, is out in August. It follows on from my last one, The Memory Cheats - and again features Charlie Hayes as Jen. Here's Anthony Lamb's thrilling cover:

As you might have noticed, I've been a bit to busy to blog much. But I mean to, one day. Yes, one day...

(Thrilled to discover this is post #1066.)

Operation Thunderball

As I've read my way through Ian Fleming's James Bond novels, it's been fun comparing the films that were made out of them. Some books are faithfully transposed from page to screen, others bear almost no resemblance. Plots and characters from one book might be used in the film of another.

Thunderball is different. It was adapted into more than one movie – Thunderball (1965) and Never Say Never Again (1983), with plans for a third called Warhead 2000 AD. But the book is itself a novelisation of a screenplay: it was meant to be the first James Bond film, the script written by Fleming himself and a gang of pals. Does that make it different from the other novels?

First, is the plot any more cinematic than previous Bond books? A new super-team of villains nicking atomic bombs and holding the US and UK to ransom does seem a movie sort of plot. Compare it to some Bond books and it’s a lot bigger and more visual. Casino Royale is all about a card game, From Russia With Love is mostly taken up with the bureaucracy of the Russian secret service and Moonraker is set in rainy Dover. But Thunderball isn’t bigger or bolder than Doctor No (so no wonder that was chosen to be the first movie when rights over Thunderball got tricky).

What's more, the structure of Thunderball is really odd. It starts with Bond being sent to a health farm by an evangelical M, who's on a health kick himself. I wasn’t exactly thrilled at the prospect of Bond eating yoghurt. The films concur and both tack on a more exciting opening sequence before Bond goes to the farm.

The farm is still a big problem. While there, Bond just so happens to stumble into a chap with a crucial part to play in the bomb conspiracy. As I said a hundred years ago:

“It's a whopping great coincidence in Thunderball that Bond happens to be in the same health farm as the baddies. That is, unless either a) it being right next to a NATO base means the Secret Service can get a discount, or b) M has had a tip-off.

Though the latter seems not to play when Bond phones in his suspicions about Count Lippi's tattoo: Moneypenny reminds him how he's on leave.”

Me, Oddfelt, 23 August 2006.

It’s a pity that Bond is suspicious of Lippi based on little more than that he's of mixed race but drives a nice car. He’s not the greatest of villains either, his uncontrollable temper almost ruining SPECTRE’s plan. Fleming himself seems a bit unsure about,

“this rather childish trial of strength between two extremely tough and ruthless men, in the bizarre surroundings of a health clinic in Sussex”.

Ian Fleming, Thunderball, p. 43.

Later, when Felix Leiter helpfully guesses how the man Bond fought at the health farm might be connected to the conspiracy, Bond says it’s the sort of nonsense one might dream up on mescaline (p. 122). This is not the only time Fleming undermines his own plotting.

Perhaps, I thought, the health farm is there to inject new life into the old Bond – who must be a bit battered and scarred after so many wild adventures (he, er, died at the end of From Russia With Love). Or it’s a canny way of excusing any changes in the character on screen – his being younger, less grumpy, more fun.

Except that Bond’s new-found good health only lasts a few pages before he’s back to his hard-drinking habits. What’s more, he and M being healthy horrifies the women around them. In Chapter 7, Bond's housekeeper and secretary are both appalled by him eating yoghurt and looking good. But Miss Moneypenny promises that, like M, he'll soon be on the “champagne cure” again, so hungover and difficult once more. She says:

“‘It's really the best for men. It makes them awful, but at least they're human like that. It's when they're godlike one can’t stand them’”.

Ibid., p. 65.

Bond’s record of health, as spelled out by M, is not so far from the author’s: too much smoking, boozing and good food, too little due care and attention. So perhaps this is an acknowledgement of Fleming’s own inability to change his unhealthy lifestyle.

There’s also something different about Moneypenny. When we first met her in Casino Royale, she was cool and sure, and almost seemed to run the secret service:

"What do you think, Penny?' The Chief of Staff turned to M's private secretary who shared the room with him.

Miss Moneypenny would have been desirable but for eyes which were cool and direct and quizzical.

‘Should be all right. He won a victory at the FO this morning and he's not got anyone for the next half an hour.' She smiled encouragingly at the Head of S whom she liked for himself and the importance of his section.'"

Ian Fleming, Casino Royale, p. 23.

She’s always kept her distance from Bond and the other 00s – knowing they don’t survive long. But in Thunderball, we’re told she “often dreamed hopelessly about Bond” and there’s perhaps a hint of girlish fussiness in her having a beloved poodle (p. 14). Whereas before she seemed unattainable (and therefore strong), now she flirts openly with Bond – although I’m not sure “flirts” is quite the right word. For example, Bond tells Moneypenny that he smokes because,

“it's really only that I don't know what to do with my hands”.

Moneypenny responds,

“that's not what I've heard”.

Ian Fleming, Thunderball, p. 15.

I think that’s meant to suggest he knows his way around a lady, but it made me think at first that she'd called him a wanker. He then threatens her with a spanking, and though she gets the last word she’d also have a case for workplace harassment.

Is the change in Moneypenny a result of this being written for the screen – it’s cinema not prose that demands her subservience? Or is it the result of Fleming working on the original screenplay with a bunch of other (male) writers, so that something of his original character got lost? Or would she have been diluted anyway, a slow erosion book-by-book of her original character?

The books’ attitude to women is as fascinating as it is odd. Fleming (or Bond) often compliments women by likening them to men: the best Bond girls have boyish buttocks and masculine attitudes. In introducing new Bond girl Domino in Thunderball, we’re told that she drives like a man. And just in case we don’t fully understand this compliment:

“Women are often meticulous and safe drivers, but they are very seldom first-class. In general Bond regarded them as a mild hazard and he always gave them plenty of road and was ready for the unpredictable. Four women in a car he regarded as the highest potential danger, and two women nearly as lethal. Women together cannot keep silent in a car, and women talk they have to look into each other's faces. An exchange of words is not enough. They have to see the other person's expression, perhaps in order to read behind the other's words or to analyse the reaction to their own. So two women in the front seat of a car constantly distract each other's attention from the road ahead and four women are more than doubly dangerous, for the driver not only has to hear, and see, what her companion is saying, but also, for women are like that, what the two behind are talking about.”

Ibid., pp. 109-10.

My pet theory is that Fleming worked this stuff into his books for his own entertainment and perhaps to annoy his wife, who looked down on the trashy adventures that financed their expensive lifestyle. But there’s plenty of evidence that he’s also just (to use a line from a later film) a sexist, misogynist dinosaur.

We can see how out of touch he is early on, when Bond chats to the young taxidriver taking him to the health farm. This kid, feels Bond (who served in the war), doesn’t know how lucky he is.

“He was born into the buyers' market of the Welfare State and into the age of atomic bombs and space flight. For him life was easy and meaningless.”

Ibid., p. 16.

I love the idea of Bond thinking life is easy for the young folks because they could be blown up at any moment. And yet, by page 17, Bond and this kid are equals – and can discuss the important matters of the day. It reminds me of the end of David Niven’s The Moon’s a Balloon, where the old man goes to a young people’s party. It’s a desperate attempt to suggest that the old guy is still relevant, still hip. But the more effort put into convince us, the more plainly it doesn’t hold true.

A page later, the taxidriver tells Bond about a local prostitute who’s done well out of the healthfarm’s rich clients. It’s an unusual bit of social realism from Bond – a sense of the strange and dirty goings on every day beneath the respectable veneer of austerity Britain. With its reference to Brighton gangs, it's a little like something by Graham Greene.

References to Rosemary Clooney (p. 19) and North by Northwest (p. 85) add a touch of realism and set the book firmly in it’s time. Bond also gets a fashionable shag in a bubble-car. And we get a hint of an as-yet untold Bond adventure, when he jumped for the Arlberg Express to escape someone called Heinkel in 1956 – during the uprising in Hungary.

The events of Thunderball occur in May and June of 1959 (p. 70) – two years before the book’s publication. May 1959 seems to be when Fleming met with the other collaborators to work on the screenplay, long before it became a novel. (The screenplay was written by Fleming, Kevin McClory, Jack Whittingham, Ivar Bryce and Ernest Cuneo – the book is dedicated to the latter.) So for all its efforts at relevance, it’s set explicitly in the recent past. Bond films seem to be set just a little in the future, where technology is more advanced. Fleming seems to be taking a leaf from the Sherlock Holmes stories – telling us a ‘true’ story once it’s safe to do so.

Except that it isn’t safe. The nuclear bombs are recovered but the big, new villain gets away – indeed, he’s barely seen after he’s been introduced.

We learn on page 47 that Ernst Stavro Blofeld was born on 28 May 1908. That’s Fleming's own date of birth, but the likeness to Fleming quickly ends there. We're told, straight away, that Blofeld was born in Gdynia to a Polish father and Greek mother – another villain of mixed heritage. There then follows pages of description: his life and looks (he has feminine eyelashes), that he doesn't drink, smoke or have sex. He’s the opposite of Anglo-Saxon Bond (we’ve not yet learnt about Bond’s parents not being entirely English). References to Mussolini, Hitler and Rommell mixed in with the description help suggest Blofeld's in the same league.

Like From Russia With Love, there's lots on the villains planning their diabolical crime and the pains they've taken, to make it seem all the more impossible for Bond to beat. Chapter 5, which introduces Blofeld and SPECTRE, is full of authoritative detail: names of people and organisations that make it seem real and researched. I almost felt I ought to recognise some of these references. Fleming is almost saying to the reader, “As you know...”, making you complicit, making you agree.

The film Thunderball uses the same telling moment when Blofeld kills one of his underlings in the midst of a meeting. But in the book version, the underling’s mistake is that his team “violated” a girl they had kidnapped and ransomed. Blofeld insists that:

“SPECTRE shall conduct itself in a superior fashion”.

Ibid., p. 56.

As well as killing the underling, he apologises to the girl’s family and send back half of the ransom - I’m sure that would make them feel better. But this odd, fussy detail is just a more extreme example of Bond’s views on Windsor knots and the correct way to make omelettes. It's meant to show he's exacting, precise but edges – or leaps – into camp. Or is Blofeld bothered because he finds all that sex business beastly?

In the films, we learn of SPECTRE and Blofeld piece-by-piece. The film of Doctor No mentions the organisation over dinner, and SPECTRE then seeks to avenge his death in From Russia With Love. Goldfinger doesn't mention either SPECTRE or Blofeld, but when we get to Thunderball we already know what they're capable of. That killing of an underling is perhaps less shocking because we've already seen what they're capable of.

Having been introduced to Blofeld in the book, we then leave him behind. The theft will be handled by his second-in-command, Largo – a pirate complete with an eye-patch. Largo’s clever scheme is based on the Olterra,

“that merchant ship off Gibraltar during the war? The Italian frogmen used it as a base. Big sort of trap door affair cut in the hull below the waterline … One of the blackest marks against intelligence.”

Ibid., p. 133.

Fleming again seems keen to play it real. We’re told at some length about the kind of boat Largo uses and exactly where it was built. Later, Bond wants Domino to signal to him from her ship by turning the lights on in her cabin. She responds:

“‘That is a silly plan. It is the sort of melodramatic nonsense people write about in thrillers. In real life people don't go into their cabins and switch on their lights in daylight.’”

Ibid., p. 189.

Unfortunately, she's not such a natural secret agent, getting caught by Largo when she takes photos with the lens cap still on her “camera”.

We learn that Domino is the sister of Giuseppe Petacchi – the pilot who steals the bombs for Largo and is murdered for his efforts. In both films that's part of Largo's plan – he's manipulated Domino and her relationship with her brother cynically. Yet in the book it's a coincidence that her brother is mixed up in the plot.

“Probably even Largo, if Largo was in fact involved in the plot, didn't know this”.

Ibid., p.158.

Bond uses the death of Giuseppe to turn Domino against Largo. But, as I said, she gets caught and is tortured – and is left all tied up. So it's again a lucky coincidence that she escapes just in time to save Bond at the crucial moment and avenge her brother by killing Largo. All plots are contrivances, but this feels too much like cheating – and it undermines all the excitement Fleming has brewed up so far. If the resolution all hinges on coincidence and good fortune, then the ending is down to destiny rather than the skill of James Bond. He – and Sherlock Holmes and the Doctor – are at their best when they win by being smart and brave, not absurdly jammy.

Bond calls in the big guns for the chase at the end – he and Felix pursue Largo's yacht in a nuclear submarine. Captain Peter Pedersen rails against the madness of the nuclear arsenal in his charge – enough of them to wipe out England. He's meant to be the voice of ordinary common sense, offering Bond tea and tales of his idyllic wife and kids. That's reasonableness is not helped by him repeatedly using the word “niggerheads” to describe a type of coral (from p. 199). And when he tells us (on p. 212) that the interior of the nuclear submarine is multicoloured and optically interesting to stop the crew going mad, it's not exactly reassuring. Perhaps there's something of Neville Shute's On The Beach about it - published four years before.

Bond likes Pedersen – we can tell because he doesn't find petty ways to undermine him, as he sometimes does with those in authority. When they're first establishing their credentials, Bond admits,

“I was in intelligence – RNVR Special Branch. Strictly a chocolate sailor”.

Ibid., p. 195.

Which is not, in turns out, another way of saying “sea bent”. When Bond leaves the sub to swim after Largo, he has a big number one painted on his wet suit – which would surely make him quite a target. In the book, he's in a standard black wetsuit, but the film puts the villains in black and the goodies in friendlier orange. Bond doesn't even wear the leggings – and the more naked he is as he goes into battle, the cooler he seems.

I said of Casino Royale that it's the villains who have the gadgets – and, effectively, cheat. But Thunderball is most like the films in giving Bond a lot of cool toys and vehicles to call on when he needs them. Again, I think Bond's at his best when being smart against the odds, without this Batman-like gadgetry.

On the whole, the films follow Fleming's book. Both films split Domino in two. Domino is a nice, demure girl who'd never drive dangerously. And then there's Fiona Volpe and Fatima Blush – bad girls who die not long after Bond's shagged them.

But a lot of the cool sense of humour and innuendo in the films is Fleming's. Some of it edges of the filthy, as when Domino treads on a poisonous spine and Bond offers to help eat out the poison.

“This is the first time I've eaten a woman. They're rather good”.

Ibid., p. 184.

The film has Bond and Domina make love underwater rather than in a beach hut, which I'm informed by a diving chum isn't possible (cos man bits shrivel up in cold water).

The other big change is that Blofeld doesn't have a cat in the book – when we don't see the man's face in From Russia With Love and Thunderball, the cat makes him much more identifiable.

Blofeld's a great and intriguing character, introduced as a big deal at the start of the book, then vanishing halfway through (except for a couple of phonecalls to update him on progress). That's nicely done – creating a sense of scale that reaches wider than book and promising a rematch. Looking forward to the next adventure is something new to the series (where From Russia With Love killed off Bond. It's what the films will do, but here with a slight twist:

The end of Thunderball, but Blofeld will return...

LA story

A week ago, I was on Venice Beach in Los Angeles with the Dr. She took me to Small World Books - a cool little bookshop crammed with good stuff I'd never heard of, exactly my idea of a treat - and I looked for something with a link to LA. I found Raymond Chandler's The Long Goodbye.

It's been odd reading it this week and recognising street names and districts from our gadding about - places we went to, names I steered by on Googlemaps. I'd noticed the strange, uneasy mix of the very rich and the very poor, living side by side, that Chandler captures so perfectly. We'd gone to gawp at the Egyptian Theater because it's apparently based on Luxor - but the thing that was most like our recent trip to Egypt was the constant, desperate effort by hungry-looking guys to raise a smile or shock us so we'd buy their meagre tat. All this while Broadway hosed itself down in readiness for millionaires to present each other with golden statues.

But Chandler's tale of corruption circling seedy crime, and a newspaper mogul indirectly paying off the police and burying a story, has struck a chord this week.

Chandler's Marlowe is a cynical guy in a cynical world. And yet for all he's sarcastic to cops and hoodlums, millionaires and servants, and the more his story drips with weary resignation at the city-sized mess, Marlowe's revealed - like Rick at the end of Casablanca - to be a strong, moral character, doing the difficult, right thing for no reward and quite a lot of grief. For such a cynical story, it's an oddly uplifting read.

The book's at its best when the dialogue is short and crisp, the wise cracks sharp as a Mexian's throwing knife. It's slightly breaks the spell when characters rant at length about what's wrong with the modern life. And yet this from rich Harlan Potter (do his friends ever call him Harry?) seems especially timely - or depressingly timeless.

"We live in what is called am a democracy, rule by the majority of the people. A fine ideal if it could be made to work. The people elect, but the party machines dominate, and the party machines to be effective must spend a great deal of money. Somebody has to give it to them, and that somebody, whether it be an individual, a financial group, a trade union or what have you, expects some consideration in return. What I and people of my kind expect is to be allowed to live our lives in decent privacy. I own newspapers, but I don't like them. I regard them as a constant meance to whatever privacy we have left. Their constant yelping about a free press means, with a few honorable exceptions, freedom to peddle scandal, crime, sex, sensationalism, hate, innuendo, and the political and financial uses of propaganda. A newspaper is a business out to make money through advertising revenue. That is predicated on its circulation and you know what the circulation depends on."

Raymond Chandler, The Long Goodbye, pp. 233-4.

Dennis Nilsen helped blind children read graphs in science textbooks

Yesterday, the House of Lords picked over the Legal Aid, Sentencing and Punishment of Offenders Bill. They got on to parole, and how it works an incentive for prisoners to behave well. But what of prisoners serving long sentences with little hope of parole? Lord Rambsotham, former Chief Inspector of Prisons, then offered this:

"Noble Lords may remember the name of Dennis Nilsen, who was awarded a natural life sentence for a series of perfectly dreadful crimes. Noble Lords may not know that one aspect of education denied to blind children is access to science textbooks because graphs cannot be read in Braille. One of the education officers in the prison, looking at Dennis Nilsen and his characteristics, reckoned that something there could be harnessed. Nilsen was taught to write in Braille. Then, over four years, he described graphs in a science textbook in a way that would be understood, and translated his descriptions into Braille. After four years, blind children had access to a science textbook, thanks to the activities of someone who, in theory, had been rejected by society. I talked with Nilsen and will not describe that. But I will never forget talking to the education officer who had had the wit to realise that there was something in Nilsen that could be harnessed to the public good. She used the word "hope", which was present at the time, and said how essential it was that she had hope that something could be achieved. I was enormously disturbed when that hope was removed by the 2003 Act. I very much hope that the Minister will be able to respond to this amendment".--[Official Report, 9/2/12; cols. 395-6.]