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.]

AAAGH! on the Moon!

The AAAGH! from issue #253 of Doctor Who Adventures will be my last for a few weeks. I'm sure that comes as some relief. But it's thrilling to realise that this silliness has been running now for over a year. One day I might tell the hallowed tale of how AAAGH! came to be. The world is not ready for that yet.

As ever, the script is by me, the art by Brian Williamson and the editing by Paul Lang and Natalie Barnes - who gave kind permission for me to post it. You can read all my AAAGH!s, and see new ones in Doctor Who Adventures every Thursday.

Chart Wars - may the hits be with you

Last month in Manchester, the Dr and I stumbled across what might be the most 80s piece of vinyl ever pressed. Duran Duran. Bauhaus and Renee and Renato - together at last. And you thought Yoda flogging Vodaphone was a terrible cash-in*.



Yoda flogging Vodaphone is a terrible cash-in.

The sign of 'the penguins'

A fun afternoon in Greenwich, first to be grilled for a forthcoming podcast about some things what I have writ, and then to a special preview of the newly reopened Caird library at the Maritime Museum.

Whereas once the museum's vast wealth of records on the history of ships, pirates, migration and cool space stuff was housed down the road in Kidbrooke, it's now neatly packed into 9 kilometres of shelves at the museum, which I got to poke my nose round. The chief appeal will be to maritime researchers and those tracking family history (and there's a digitisation project going on at the moment).

But for the casual, nerdy passerby there was plenty to excite, if you have the sense and sophistication to be excited by weird old books. There's volume after velum-wrapped volume of old maps, complete with dragons and monsters, and a sailcloth bound edition (1779) of William Buchan's Domestic medicine: or, a treatise on the prevention and cure of diseases by regimen and simple medicines with an appendix containing a dispensatory for the use of private practitioners - this copy as used on the Bounty under Bligh.

Of the greatest excitement to me was a copy of Aurora Australis, the book written and published by the British Antarctic Expedition of 1907 over the winter (April to July) of 1908. It's full of drawings, poems and short accounts of the trip by members of the crew such as "Interview with an emperor" (i.e. an emperor penguin). Dork that I am, I thrilled to see ice-berg hyphenated. But the book, the physical object, is a thing of wonder.

The front matter explains that it was "Printed at the sign of 'the penguins'" - beside a neat, square logo - "by Joyce and Wild. Latitude 77°..32' South, Longitude 166°..12' East Antarctica". One of the librarians helpfully told me that this was one of maybe 100 copies produced (the museum holds two copies). That's the print run of some of the small-press stuff I've worked on or reviewed. And they don't compare.

The cover is hard wood - made from a packing case, as the stamp on the inside clearly shows. But it's the quality of the book that's really impressive: good quality lay-out and editing, printed beautifully on a good stock of paper.

So we get an impression of the kind of man that expedition leader Ernest Shackleton might have been in his need to add a second, "Additional preface" with the following caveat:

"But the reader will understand better the difficulty of producing such a book quite up to the mark when he is told that, owing to the low temperature in the hut, the only way to keep the printing ink in a fit state to use was to have a candle burning under the inking plate; so if some pages are printed more lightly than others it is due to the difficulty of regulating the heat, and consequently the thinning or thickening of the ink. Again the printing office was only six feet by seven and had to accommodate a large sewing machine and bunks for two men, so the lack of room was a disadvantage; but I feel that those who see this book will not be captious critics".

Shackleton would later be a member of Captain Scott's ill-fated expedition, while his amazing, old-skool heroism in getting his crew - every one of them - safely back from the Antarctic is featured in this week's Corpse Talk comic strip by Adam Murphy in issue 3 of the Phoenix comic. The books I've mentioned - and a whole bunch more cool stuff - is available on request at the Caird library - subject to the terms and conditions on the website.

AAAGH! in the air!

An action-packed AAAGH! from issue #251 of Doctor Who Adventures, available until yesterday. It might owe a little to the opening sequence of The Doctor, The Widow and the Wardrobe. Script by me, art 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.

The new issue out today has a splendid AAAGH! by Paul Lang, and also photographs of the Whomobile, Meglos and Quatermass.

The Masters of Luxor

The Dr has already blogged about our trip to Luxor in Egypt over new year. I've been writing what follows in fits and starts.

We stayed for a week and packed in as much as possible. Our hotel was a short walk from Luxor temple, the Luxor and mummification museums and a longer walk from Karnak – we arrived there at half eight in the morning and pretty much had the place to ourselves.

We hired a guide and driver to take us to the Valley of the Kings where we poked our noses in the tombs of Ramsees IX, III and IV (but sadly not Thutmoses III which is mentioned in the Doctor Who story Pyramids of Mars). We went to Deir al-Madina (the village of the workers who built the kings' tombs) and the Ramesseum – where we saw the vast, fallen statue that inspired Shelley's poem Ozymandias (which is more than Shelley did, as he based it on a visit to the British Museum). We got to see the Al-deir Al-bahari temple, the Valley of the Queens, Medinet Habu temple and took a cruise up the Nile to Dandara, where the Dr was delighted that opposite a rare carved portrait of Cleopatra and Caesareon is a temple (and the equivalent of two fingers) built on the orders of Caesar Augustus. Having admired the pale blue ceiling that showed an ancient zodiac, we spent the four-hour trip back down the river gazing up at the stars.

We also took a four-hour drive to Abydos, a vast, impressive place still with its original ceiling, where I snapped the following two short videos on my wireless phone:

We saw so much, the Dr took 400-odd photos and pages and pages of notes. The ancient building are covered all over, often with huge Pharaohs smiting people from different countries. Flinders Petrie collected casts of the people’s faces as part of his study of race – something the Dr is writing a book about. And while she gathered evidence, I was struck by how often we saw the same posture, one Pharaoh or other stood with feet apart, one arm raised and the other pointing out, while wearing a kilt with a hanging belt. Here are two examples:

Surely, I thought, that’s Orion.

There were relatively few other tourists: the hotel was only 40% full and was a bit desperate in asking us to come to its gala new year's eve dinner. The local people were keen to tell us that Luxor is safe for tourists – horrified that the Arab Spring and ongoing events in Cairo might have scared people off.

Since so much of the economy is based on tourism, that's a real problem. We'd been warned before we went, but the constant hassle was a bit of a shock at first and then a wearying nuisance. Wherever we stepped, people hurried over to offer taxis, boats or horse-drawn rides – some of the horses barely skin and bone. They wanted to know where we came from, where we were staying, where we were walking to. They wished us happy new year or called out “Lucky man” and “Why not smile?” – and if they got any hint of an answer they'd then offer us taxis, boats or horse-drawn rides. If they couldn't get a reaction from me they'd run round to the Dr. “Madam”, they'd say, and the try exactly the same tack.

One man followed us down the road telling us which hotel we were staying in and for how long – the creepiest sales pitch ever. Another promised us “no hassle” and then continued the pitching in a whisper as if we weren't meant to hear.

In every temple and museum there seemed to be someone keen to point out something in plain sight or to offer to take us past roped-off sections, if we’d only pay out some small change. At the airport, the man loading our bags through the scanner expected something. The guide books advised us to keep a separate pocket of this grubby baksheesh.

It was exhausting at first, but within a couple of days we'd developed thick skins. Sadly, some people did just want to say happy new year – but even saying thank you to them brought more people hurrying over. I managed to offend a man working in a bar by blanking his polite inquiries about where we were from. I apologised, said I'd thought he would only try to sell us something. And without missing a beat he pointed over to his stall of souvenirs and invited us to browse. There’d be something for free if we did. We finished our drinks and escaped.

The worst part was if you did actually want to buy something. You couldn't browse – the people in shops would flap around beside you making suggestions, or trying to put items in your hand. We tried to buy a bottle of water and the man in the shop kept repeating, “Only one?” and then offering to drive us to a place out of town where we could buy souvenirs at a bargain price. Trying to buy a guidebook, we were surrounded by people offering advice, eager to fetch us the same books in French or Italian, a constant, desperate witter that just made us want to give up and walk away. This hustling sometimes just confused us, so we bought more than you wanted or paid a silly price.

“It’s a different culture,” explained the tour rep, before offering to sell us day-trips. We had to buy them from her then and there, and soon found other guests who’d turned her down only to buy much cheaper tickets for the same trips just by asking at reception. Ho hum.

But it is a different culture, one where sharing wealth is a sign of virtue. We have our own strange ways. In crowded London, giving people space (such as by not talking on the Tube) is a mark of respect – though that’s not how it often appears to people visiting the city. But also, baksheesh isn’t so foreign an idea. Watching old films since I’ve been home – The Hound of the Baskervilles from 1939, Doctor No from 1962 – I’ve been struck by the number of times Holmes and Bond hand out money to people who offer them help. Those they patronise seem grateful, and it’s used to show our heroes’ impeccable manners.

Once the Dr met up with a local archaeologist and he organised a driver to take us round, the bothering changed gear. There were still people eager to sell us souvenirs, but they didn’t trail after or crowd us. And it was oddly reassuring to see Egyptian tourists visiting from Cairo treated exactly as we were. (The Dr was thrilled by the numbers of Egyptian tourists visiting their own heritage sites – she thinks it bodes well for the future.)

Generally everyone we met – even the people trying to flog us vastly inflated old tat – were welcoming and friendly. We went to a brilliant new year’s eve party on the roof of a hostel where there was live music and a dancing girl, though (having been shoved forward by the Dr) I felt too awkward and sober to dance with her for very long.

We'd planned to mix the sightseeing with days by the pool, but there was so much we wanted to see that we didn't exactly stop. Most days we were up with or before the sun, having breakfast as the hot air balloons rose slowly over the Valley of the Kings. When we weren't touring, I wrote pages of spec script and read Claire Tomalin's biography of Dickens - which I might blog about if there's ever a spare moment. But don't expect much: Egypt was my last break for some time...

AAAGH! visits Doctor Who Adventures

An especially indulgent edition of AAAGH! to celebrate issue #250 of Doctor Who Adventures. Script by me, art by Brian Williamson and edited by Natalie Barnes and Paul Lang - who, as always, gave kind permission for me to post it here.

New year, new product

Happy new year! I'm back from a week in Luxor, touring ancient sites and drinking a beer called Sakara. Will try to blog something about what I saw, and also about the various good books I've been reading. But first, these important messages:

There are lots of screenings next week of my short film, Cleaning Up.

• Tuesday 10 January: London Short Film Festival in Hammersmith, London
  
• Friday 13 January: "British Shorts" festival, Berlin
• Saturday 14 January: Blue Box convention in Tunbridge Wells
• Sunday 15 January: Shortwave in Bermondsey, London
  

I'll be at all but the Berlin screening. Do come along and say hello. I'll also be showing the film at the Gallifreyone convention in Los Angeles next month.

I've also written a superhero comic, The 100% Awesomes for the Autism Education Trust. With art by William Potter, it's designed for use in school lessons to teach kids about autism and difference.

My short story "Last Rites" features in The Hammer Out Book Of Ghost Stories 2012, published this month to raise money for brain tumour charities.

Also out this month is my Doctor Who audio adventure, The Anachronauts, starring Jean Marsh and Peter Purves.

Happy Christmas from AAAGH!

A merry Christmas to all of you at home from AAAGH! Excitingly, Doctor Who Adventures #248 is still in shops until next week, but my bosses thought we'd share this with you now. Script by me, art 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.

One man and his dog

Been a little busy, but on Friday I got two trips out. First, Scott Andrews took me to see Sherlock Holmes 2, which was whizzy and silly and fun. Then I made the epic trek to Chiswick to review Hogarth's house for something out next year (which I shall post about when it happens). What follows is stuff I didn't say in that.

Hogarth lived in Chiswick between 1749 and his death in 1764. Chiswick seems quite proud of the connection. His house was opened to the public in 1904, but re-opened in November after a fire in 2009. In 2001, a statue by Jim Mathieson of Hogarth and his pug-dog Trump was unveiled on Chiswick High Street. It was unveiled by Ian Hislop and David Hockney - I assume symbolic of his status as satirist and artist.


A picture by Hogarth shows the house surrounded by fields, but now it's right next to a busy road and roundabout (both named after Hogarth). You can see and hear the traffic grumping past as you poke round the displays. (I did not put in my review that Donna Noble realises her taxi driver is a robot on this very road.)


The house was built in what was once an orchard, and the mulberry tree that apparently still blossoms each year is thought to be older than the building. You can just about make out the tree in this picture.

AAAGH! and the carol singers

Another festive AAAGH!, this one from Doctor Who Adventures #246 and owing a little to last year's Christmas special, A Christmas Carol, but with added monsters and tomfoolery. As ever, it's written by be, illustrated by Brian Williamson and edited by Paul Lang and Natalie Barnes - who also gave kind permission to post it here. You can read all my AAAGH!s.

As an added treat, here's what Abigail is singing.

Hundred year-old cat

The builder currently rebuilding our house made a cool discovery:
The house is at least 100 years old, possibly late 19th century. And there in the original brickwork are the paw prints of a cat. We're going to leave them on show.

AAAGH! and the Advent calendar

Another AAAGH!, this one marking the start of Advent. There's all sorts of Christmas festivities coming in Doctor Who Adventures in the next few weeks, as we approach the Christmas episode. As ever, the script for this silliness is by me, the art by Brian Williamson, and the strip was edited by Paul Lang and Natalie Barnes - who gave kind permission to post it here. You can also read all my AAAGH!s.

First Wave interview

Daniel Tostevin interviewed me about my Doctor Who story The First Wave for the latest issue of Doctor Who Magazine. But I wittered on so much that he had bits of what I said left over. He has published my additional wittering on the official Daniel Tostevin website.

Happy birthday Doctor Who, love AAAGH!

AAAGH! celebrate's Doctor Who's 48th birthday today in a bit of silliness written by me and illustrated by Brian Williamson. Doctor Who Adventures #244 is still in shops for another day, and includes a whole bunch of old-skool stuff, including mention of Koquillion.

As always, this AAAGH! was edited by Paul Lang and Natalie Barnes and posted here with their kind permission. You can also read all my AAAGH!s.

Blake box

For your delight and delectation, here is Anthony Lamb's cover for Blake's 7: The Liberator Chronicles, which includes The Turing Test - written by me and starring Paul Darrow as Avon and Michael Keating as Vila. It's out in February 2012.

Ritzkrieg

Finished my chum Matthew Sweet's The West End Front this morning. It's a magnificent, funny and strange collection of stories about London's posh hotels during the Second World War (though he freely extends the scope when it means another good story). It was Book of the Week on Radio 4 last week - you've still a chance to hear Kenneth Cranham reading choice cuts on iPlayer.

Matthew has interviewed more than 100 people - those who were there at the time, or the families of those who have since died. The result is a gleefully gossipy account of some often shocking incidents, carefully backed up with solid documentary research.

The book undermines the sentimental view of the Second World War, the idea of a nation steadfastly keeping calm and carrying on, all stiff-upper lips and good humour. There's scandal and skulduggery, scoundrels, sex and death. Some of the events make for very uncomfortable reading. But really this is a testament to the strangeness of real life - in an extraordinary period of history and anyway. Matthew's got a good eye for the incongruous detail, the grotesque detail, that conjures the period vividly.

There's a wealth of top facts, too. Captain Leonard Plugge, Conservative MP for Chatham, gave his name to any "brazen commercialism in the media". Crooner Al Bowlly (whose work I adore) was killed by his own bedroom door. There's the extraordinary image of Winston Churchill, no longer Prime Minister and so no longer living at Downing Street, installed in the penthouse at Claridges because, his wife said, "We have nowhere to go". It is there, on a borrowed wireless, that he heard the news of Japanese surrender.

"'Then he went out into the rain and there were three old ladies under an umbrella who had heard he was there and gave him a cheer.'"

Philip Murphy, Alan Lennox-Boyd: A Biography (1999), quoted in Matthew Sweet, The West End Front, p. 286.

Many of the lively characters Matthew speaks of - and spoke to - have died, and as he argues the Second World War is now passing out of living memory. This chance to capture and record these fleeting ghosts before they are fully gone is utterly compelling.

Dream the myth onwards

Here's the introduction I wrote to the book of academic papers, The Mythological Dimensions of Doctor Who (2010) - available as a paperback and on Kindle and things.

Dream the myth onwards
Simon Guerrier

Do stories matter if we know they're not true?

That seems to be central to the idea of myth. They are stories that matter. Ken Dowden, in his book The Uses of Greek Mythology, argues that “myths are believed, but not in the same way that history is”(1). If they were true they would be history. But stories still illuminate the truth.

The father of psychoanalysis certainly thought so. Sigmund Freud used the stories of ancient mythology to illuminate aspects of the human condition. Most famously, he named a group of unconscious and repressed desires after the mythical king of Thebes, Oedipus.

The story of Oedipus has been retold since at least the 5th Century BC. By linking to it, Freud suggested that the desires he'd uncovered were not new or localised. They were universal.

Freud was clearly fascinated by myth. His former home in London – now a museum – contains nearly 2,000 antiquities illustrating myths from the Near East, Egypt, Greece, Rome and China, many lined up on the desk where he worked. He argued that psychoanalysis could be applied to more than just a patient's dreams, but to “products of ethnic imagination such as myths and fairy tales” (2).

But, as Dowden points out, you can only psychoanalyse where there is a psyche. Who are we analysing when we probe ancient myths – which have been retold for thousands of years? Do we examine a myth as the dream of an original, single author, or of the culture that author belonged to? Dowden argues that “psychoanalytic interpretation of myth can only work if it reveals prevalent, or even universal, deep concerns of a larger cultural group”(3).

He also quotes Carl Jung, who developed the idea of the “collective unconscious”, a series of archetypal images that we all share in the preconscious psyche and which, as a result, appear regularly in our myths. Jung warned against efforts to interpret the meanings of these images: “the most we can do is dream the myth onwards and give it a modern dress”(4).

That seems to me what Doctor Who does, retelling old stories in new ways, surprising us with the familiar. The archetypes of Doctor Who – the invasion, the base under siege, the person taken over by an alien force, regeneration – have been embedded for decades. Yet the series keeps finding new ways to present them, and new perspectives and insights along the way.

That's also true of this book, probing the Doctor's adventures for new perspectives and insights. The essays contained here don't take Doctor Who as the dream of one single author whose unconscious desires can now be exposed. Instead, it probes our shared mythology as Doctor Who fans – of which the TV show is just a part – to explore our own cultural unconscious.

“Myth” means many things in this book. It's any fiction with a ring of truth. It's any story with cultural of psychological value. It's any work with staying power, whose themes and ideas are still relevant generations after the first telling. It's the established, fictional history of characters and worlds, the “continuity” so often complex and contradictory. It's the moment at which a character becomes a hero or even a god. It's anything we want it to be.

And that is why it's so revealing.

(1) Dowden, Ken, The Uses of Greek Mythology, London: Routledge 2000 [1992], p. 3.
(2) Freud, Sigmund, Totem and Taboo, Leipzig and Vienna: 1913, English translation ed. J Strachey London 1955. Cited in Dowden, p. 30.
(3) Dowden, p. 31
(4) Jung, Carl and Kerényi, C, Science of Mythology: Essays on the myth of the divine child and the mysteries of Eleusis, 1949, English translation, cited in Dowden, p. 32

Thanks to editor Anthony S Burdge and Anne Petty at Kitsune Books for permission to post it here. I landed the Doctor in ancient Greece in my book, The Slitheen Excursion - where he met what might be the real people who inspired the myths of Athena, Noah and the Medusa, amongst others.

Re: Re: The First Wave

[SPOILER WARNING!]


[SPOILER WARNING!]


[Whopping great spoilers for my recently released Doctor Who story, The First Wave, follow.]


[End of spoiler warning.]


Hello Rose

First I should thank you. Your post is full of nice things about my writing generally. You call me “educated and intelligent”, which is not something I hear a lot. So thanks for those bits.

You clearly don't like The First Wave, and I don't intend to try to persuade you otherwise. But you make a number of claims that I don't think are fair. So I'll address those.

You make a lot of comments about Big Finish generally. I don't speak for Big Finish – what follows are my own opinions – and I'm not going to guess what producers or writers were thinking or trying to do. But there are openly gay and bisexual characters in several Big Finish Doctor Who stories, as well as in related ranges such as Bernice Summerfield and Graceless.

My own experience is that it's tricky writing an openly gay character in a Doctor Who audio story. There's already a lot to set up in a Doctor Who audio: a new location in time and space, created entirely from what characters tell us about it; a plot that hasn't been done before in all the hundreds of TV episodes, books, comics and other audios; an exciting monster and lots of jeopardy. Into that must go the Doctor and TV companion – and under the terms of Big Finish's licence with the BBC, they must be as they appeared on TV.

That doesn't leave a great deal of room for anyone else, so other characters tend to be sketched in lightly – character types that the listener can quickly visualise. I'd argue that we're rarely told the sexuality of any of the characters, heterosexual or otherwise.

Oliver Harper gets more depth than most because I created him as a new companion who'd appear in three stories. But his life and background are still quickly and lightly established. And that means it's tricky to avoid tokenism and cliché, to make him a character rather than a label or manifesto. You kindly praise my efforts in Oliver's previous two stories. Thank you.

But you don't like The First Wave specifically because I “stereotypically, pointlessly, offensively” killed off Oliver, who is gay. I'm sorry for causing any offence. You direct me to the TV tropes page on the “bury your gays” cliché. It's a good, fun piece that makes important points. But look again at what that page says:

“Please note that sometimes gay characters die in fiction because in fiction sometimes people die (this is particularly true of soldiers at war, where Sitch Sexuality and Anyone Can Die are both common tropes); this isn't an if-then correlation, and it's not always meant to "teach us something" or indicative of some prejudice on the part of the creator - particularly if it was written after 1960. The problem isn't when gay characters are killed off: the problem is when gay characters are killed off far more often than straight characters, or when they're killed off because they are gay. This trope therefore won't apply to a series where anyone can die (and does).”

“Anyone can die (and does)” is a good summary of the era of Doctor Who in which The First Wave is set. By “era”, I mean Season Three – not, as you argue, the First Doctor's adventures as a whole. In that season, Katarina and Sara die, Anne Chaplet (a sort-of companion in The Massacre) is apparently killed, Vicki is written out during a bloody battle that leaves Steven badly wounded, and Dodo vanishes off-screen having had her brain scrambled.

Actor Peter Purves discusses how abruptly the cast were let go in this period on DVD documentaries on The Ark and The Gunfighters – both of which I worked on. The production team even tried to write out William Hartnell as the Doctor in The Celestial Toymaker, before doing so a few months later in The Tenth Planet. There's a sense in this season that no one is safe and no one gets a happy ending. Steven's own exit from the series in The Savages could have been happy – he goes off to be a king – but that's not how it's played. So what happens to Oliver is perfectly in keeping with the series at the time (something the terms of our licence with the BBC requires).

What's more, a new companion gives us a lot of freedom. Not only can I make him a stockbroker and gay, but I also don't have to return him safely at the end of a story to where he was at the start. That's something we have to do with the TV characters under the terms of our licence. So part of the appeal of creating a new companion is that the listener doesn't know how things will end – or if he will survive.

That's the central point of the three plays featuring Oliver: anyone can die, and the longer they stay with the Doctor, the more they're on borrowed time. The phrase “borrowed time” appears in all the stories, and The First Wave would have been called Borrowed Time had there not already been an Eleventh Doctor novel called that. From that starting point, I tried to write an adventure that was exciting and also moving. You're meant to like Oliver, and not like him dying.

You object to Oliver's “noble self-sacrificing death to save the main [i.e., heterosexual] characters”*. I don't think you're arguing that he should have died ignobly – perhaps screaming for mercy or siding with the villains. And I don't think you're arguing that I've killed him off because he's gay. I think you're arguing that because he's gay I should treat him differently from any other character. You want me to discriminate.

You praise my previous story, The Cold Equations, because Oliver's “sexuality wasn’t constantly brought up, it was just a fact about him.” But I'd argue that you've made his death – and the scene where he helps Steven dress up in The Perpetual Bond – all about his being gay.

I don't expect any of this to change your mind. But remember that I brought Sara Kingdom back from the dead. The return of Oliver Harper would be a cinch.

All the best,

Simon

(* I could also point out, pedantically, that the show offers little evidence that the Doctor or Steven are specially heterosexual. But anyway.)

AAAGH! at the gym

Another AAAGH! from Doctor Who Adventures #243 - in shops till yesterday. This one features Jabe the tree from The End of the World and the Minotaur from The God Complex. (Sadly excised to make it all fit was the First Doctor in vest and shorts on a treadmill muttering that "*Puff!* This old body's wearing a bit thin. *Pant!*")

As ever, the script is by me, the art by Brian Williamson, and the editing my Paul Lang and Natalie Barnes - who also gave kind permission for me to post it here. A special birthday AAAGH! next week. You can also read all the AAAGH!s I've written.

Two covers

Some forthcoming things by me:

Doctor Who: The Anachronauts stars Jean Marsh and Peter Purves, directed by Ken Bentley. Cover by Iain Robertson.


Graceless 2 stars Ciara Janson, Laura Doddington, Fraser James and Derek Griffiths, directed by Lisa Bowerman. Cover and design by Alex Mallinson.

Loads of things we learned about making short films

Cleaning Up won Best Thriller at the Aesthetica Short Film Festival this weekend. Brother Tom and I had an amazing time in York, seeing loads of the 150 short films shown, comparing notes with lots of spectacularly talented film-makers and wannabe film-makers, and generally larking about.

As a result of all the nattering, we've realised how much we've learned by making our film – and stolen from all the clever people we've worked with.

Calling card
Short films are a way to get noticed, to get more – or different – work, and to prove that your idea for a TV series or film really works. Make your short representative of the things you want to do next.

Volunteer
We spent a day as runners on Danny Stack's Origin and two days as coppers on James Moran and Dan Turner's Girl Number Nine. That gave us a good sense of what to expect, plus we learned loads of practical things that helped us set up our film and make the shoot run smoothly. We also nicked Danny's producer, one of James and Dan's stars, and loads of crew from both.

Research
Watch all the short films you can. Go to the festivals. Buy the DVDs of award-winning shorts. If you've got a particular genre or audience in mind, research it and find out what other people are doing. Most festivals will put your film in a group with a similar theme (we've been shown as a thriller, a comedy, and as part of a group called “wrong place, wrong time”).

No matter how much of a film buff you are, the festival programmers will have seen more films than you. A festival can easily receive 1,000 to 7,000 submissions. What makes your comedy, horror, fantasy any different from the hundreds of others? What are you doing that's better? Watching lots of film, you’ll see they usually all very well made. And then one makes you sit up and take notice. How can you make your film do that?

Genre
Are you making a genre piece – comedy, horror, thriller? That can help you place your film with the festivals, sell it to an audience, build a following. Having watched a huge number of shorts now, comedy is clearly the hardest to get right – and there's nothing worse than an audience sitting stony-faced waiting for a comedy to end. But when it's right, when it works, you can be the talk of the festival.

Good script
We watched a lot of short films before making ours. A lot of people will tell you that it's easier to make films now – you can even get mobile phones that record in HD. But that makes it all the harder to stand out from the rest. A lot of short films look beautiful and are stylishly played and edited. But the thing that makes the best ones stand out is that they have good scripts. Commission a writer, as Tom did, to write something an audience will remember.

• James Moran recently blogged a whole, free seminar on writing.

It also helped that we had a professional TV writer as our script editor. Joseph Lidster made me work very hard: the script for Cleaning Up went through more than 20 drafts.

Why should anyone care?
You need to ask this a lot. Will the basic idea of your film grab people? Will the tag line? Will the names of the actors help sell the film? Are the roles they're playing not what they normally do? Or is the point that you're using people who aren't so well known? Your film needs to fight to gain attention.

Make a film on your own
Before you start assembling a big cast and crew, make a small film first, perhaps on a mobile. That way, you understand the process from start to finish, can see where your weaknesses are and can make a lot of mistakes – without a whole huge crew watching. It doesn't have to be any good; you don't have to show it to anyone. But edit it, put music on it, make sure you complete it.

Make it count
The standard of shorts is high, so make sure your money shows on screen. Every shot and line of dialogue has to count. Good locations, good production design and music all help sell your film. (A heck of a lot of short films include sunsets, which look amazing and are cheap.)

What do you offer the star?
I'm presuming you don't have much of a budget. So the only thing you can offer an established, “name” actor is a good script, with a good role for them – and something they don't normally play. And you've no comeback if they turn you down. Nobody owes you this.

Also, every actor should play a character with a name. They've given their time and skill for free, so the least you can offer them is a credit as “Keith”, not “Guard number 5”. It looks better on their CVs.

What do you offer the crew?
You're (probably) not paying people, so you have to treat them well. Don't tell them it's a great opportunity for their careers (klaxons go off, there are axes and bazookas). Define the working hours – and stick to them. Make sure there's a good lunch provided for everyone, tea and snacks and supplies.

You're the one who'll benefit from the film, not them. So you need these people more than they need you. And a good, experienced crew is essential. Ideally, you'll be the least experienced person on set.

Scheduling
Your cast and crew will – and should – drop you in an instant if they get another good, paid gig. You also find you can't work the schedule to get your dream cast and crew together in the same same place at the same time. So you have to work out who is the most important.

Say what you don't know
I made a stupid blunder on Origin by not letting on that I didn't know how to work the walkie-talkies. Don't bluff your way through. Ask advice. Listen and learn. There's a lot of bullshit in films – you have to big a project up just to get it made and seen. But people, especially the crew, will be much happier when you're honest.

Prepare
Do as much groundwork as you can yourself. Your producer and crew may only be there for the shoot itself. Make people's lives easy, and have as much prepared in advance as possible.

Tone
You set the tone of the shoot. So be cool, decisive and fun. As director, everyone will want your opinion all the time, so know what you want from every aspect of the film – and don't dither when they ask you. A happy crew works 10 times harder.

Adapt
As much as you might plan, all shoots run on luck, short films even more so because there is no money. So you'll have to adapt and improvise. Roll with it.

Gratitude
Say thank you. Buy drinks. Have a cast and crew screening. Keep everyone informed of what's happening. Return the favours people have done you. Let them know to call the favours in.

Edit
When you finish filming, you're halfway through the process. Keep your film short and relevant. Cut every frame you can. Cleaning Up lost a whole scenes and at least one of my favourite lines. Be ruthless. Audiences sitting through lots of shorts in one go will thank you.

Trailer
More people will see the trailer than the film. The cut of the trailer is potentially more important than the cut of the film.

Website
Don’t just watch lots of short films – look at how they’ve marketed themselves, too. Some do fancy websites and loads of PR, others don’t. We based our efforts on the Academy Award-winning short The New Tenants.

Don't waste people's time. You want a simple, good-looking website where people can quickly – no, immediately – find your trailer, a list of cast and crew, the tag lines and blurbs, a press release and how to contact you. Make it easy for people to see where it's playing and what awards you've won.

We'll write about sending your finished short out into the world later, when we've a better idea of how what we've done has worked.