Yearly Archives: 2011

This weekend, I caught up on the BBC’s awesome BTS doc on COME FLY WITH ME, the new series from LITTLE BRITAIN creators Matt Lucas and David Walliams.

One thought from an interview with Matt Lucas really struck me. Inevitably, there was a question about how you follow up a series as successful as LB was ((and love it or hate it, you can’t deny its success)). Lucas commented, on topping LB:

Can we do something as big as that? No. Can we do something better than that? Certainly.

And there’s the rub: whatever we’re setting out to create, the aim should never be about creating something bigger, simply creating something better.

Striving for size and reach will bring pressures and compromises; striving for quality will not only better ensure excellence, but also come with its own–much wider–rewards and may end up being both bigger and better.

Sky Atlantic, the brilliant new HBO-inspired channel from Sky, is currently running a number of great, classic shows from the beginning. Last night, I caught up with the Pilot and first few eps of ER, a show I used to adore but only started watching from around Season 4 or 5.

The pilot isn’t anything all that special: there isn’t much in the way of plot; it’s just a random collection of traumatic events and an introduction to the characters. I’ve seen many better pilots in my time.

What’s easy to forget some 17 years on from that first airing is just how revolutionary and innovative E.R. was at the time.

Never before had a medical drama been shot in such a kinetic, absorbing style. Never before had a show allowed its characters to speak “normally”, without qualifying what “O2 sats” or “insanelylongmedicallynamedthingy” was. Never before had a show stretched its character’s personal arcs across more than a few episodes before nicely tying them up.

Now TV can’t get enough of the verité style; the best shows all worry more about the characters than the events; our favourite shows stretch character arcs and storylines across entire seasons ((or even longer in some cases (LOST) )), without wrapping things up nicely at the end of each episode.

It’s easy when we look back at our old favourites ((be they TV shows, films or any other artistic or creative endeavour)) to see them in the same light we see things now. But if we’re going to continue to innovate, it’s vital that we don’t forget what innovation looked like in the first place.

Remembering how someone set about doing things differently can inspire us new creative heights, allowing us to see how people looked at things from new angles and created something fresh, exciting and–ultimately–hugely influential.

What innovations did your favourite films and shows introduce? How did they change the landscape and inspire other creators to go further?

Everyone has bad days. It’s a natural thing; life can’t always be sunshine and popping candy.  The trick is not to let bad days absorb you and pull you down into a spiral of bad mood, bad attitude and – as a result – more bad days.

One of the purposes of my original blog (archived here) was to constantly remind myself of the good things in life; the simple things that happen every day to make you smile. ((hence the title: Smile Through It))

Getting through bad days is all about finding that kernel of goodness, that moment of levity, that scrap of positivity and grabbing hold of it with both hands. It’s not always going to make your bad day go swimmingly, but by looking for the good in every bad day, though, you’re opening yourself up to the positive experiences, rather than closing yourself off: that road leads to wallowing.

Don’t sweat the bad days, just try to find the good that you can carry forward into tomorrow so you don’t let the day that’s gone before rule the next day, or the next, or the next.

Psychology Today ran this article last week suggesting that acknowledging other people’s unhappiness is the key to making them feel happier. Sounds odd – backwards, even – since our usual response to someone telling us they’re unhappy or stressed is to be positive and encourage them.

When you think about it, though, how annoying is it when you’re feeling gloomy and someone tells you to “cheer up”? It certainly doesn’t cheer you up, does it?

I’ve found, too, that when other people deny or ignore my feelings, I tend to keep repeating myself (i.e., whining), because I think my feelings haven’t registered.

Have you found that acknowledging bad feelings allows them to dissipate better?

Gretchen Rubin, The Happiness Project Blog (Psychology Today)

The full post is a fascinating read. Check it out.

Thanks to LifeHacker for tipping me to the post with their original link here.

This week I discovered the many pros and the major curse of staying regular.

Since re-branding my blog ((and myself, to a certain extent)), I’ve been blogging to a steady schedule of Monday, Wednesday, Friday for new, authored content, with Pick of the Web linked-content on a Tuesday and Thursday.

Last week, I didn’t blog on Thursday and Friday as I was busy taking stock of things in my life. In those two days, my readership on the blog halved. Just three days when the blog was devoid of new content.

But worse than that, it’s stayed at a lower ebb and is only now (after 3 days back on the regular schedule) starting to pick back up towards its previous numbers.

Blogging regularly is great in terms of building an audience; if people know when you’re posting, they know when to come looking and they know what to expect from your blog. But beware of committing yourself to a schedule of posts you can’t sustain.

Much better to follow a simple, one-post-a-week formula (such as that employed brilliantly by Clive Davies-Frayne on Film Utopia), than it is to attempt daily posts that you can’t keep up, or to release new blog content in a scattershot manner whenever you feel like or are able to write it.

Work out what you can realistically achieve, define your schedule and stick to it. Staying regular is the key to creating value for the people who read your blog as religiously as you write it.

I opened up my TweetDeck this morning to find a tweet from Jon Reiss who, you’ll remember, featured in this PotW post a couple of weeks ago.  His linked through to a TechDirt article about building audiences and why those who think it’s too much time and effort are misguided at best.

The salient point, for me, is the following:

while building a loyal audience and community may take time and effort, in the long run, they provide you with the ability to actually focus more on creativity.

Mike Masnick, techdirt.com

Read the full article here.

Are you working on cultivating an audience right now? Is it too much work, or can you see the payoff on the horizon?

It doesn’t take a genius to work out the value of “Event TV”. Take last night’s Superbowl: people all over the world tuned in and felt compelled to take part in the chatter, bantering back-and-forth with friends, followers and random strangers.

In the age of the DVR ((be it TiVo, Sky+ or whatever the dominant service in your area is)), VOD and online catch-up services ((like the BBC’s iPlayer)) more and more of us are watching our TV content time-shifted to suit ourselves. But if you want to be part of a conversation – if you want to experience the feedback as it happens – you need to be watching live.

The LOST finale is the obvious fictional TV reference ((just check out the spike in Twitter traffic as recorded here by the NY Post)). Although it’s easily dismissed as a once-in-a-lifetime occurrence for fans of one particular show and thus something of an exception, it’s still worth noting that the LOST team had spent 6 years working up to this moment, carefully building their following and fanaticism to the point when it became not only “must-see TV” but “must-see-at-the-same-time-as-everyone-else TV”, the very definition of “event TV”.

Can we, as independent filmmakers and creators, produce the kind of content that is best experienced live and as it happens? Can we create “event” content?

The closest we have to it right now is probably The Production Office Live and Film Snobbery, shows that are available almost immediately after airing on the ‘net for anyone to view it at their leisure, but which the vast majority of the audience wants to see live so they can engage in the chat and discussion, whether on the website chat or via Twitter.  Even this, though, is factual content rather than fictional.

If they key to it is interaction and immediacy, is it possible – or even realistic – for us to create “event TV” in a fictional format? Or are we foolish to even aspire to such heights? Do the indie forms of distribution (VOD, digital download etc) inevitably mean it’s beyond our reach, or can we create content that will get people buzzing across platforms as they all watch our product together?

What do you think?

Sometimes things run smoothly and beautifully and you feel like there’s a little monkey automatically greasing your wheels as you trundle along without having to think about it.

Sometimes you discover that the monkey’s been somewhat lackadaisical in its commitment to keeping the running smooth and things start to crunch and grind and slow you to a halt.

At times like these, it’s important to take a couple of days to pause and reflect on why things feel that way. While the answers may not always be simple, you’re always better to face them head-on than try to ignore them and plough on regardless.

Sooner or later, that monkey’s going to bite you in the butt. Pay attention, take regular stock and be honest with yourself and you’ll be able to get out of the way before it really sinks its teeth in.

For years the iconic sports brand have been telling us to ‘Just Do It‘. It works as a slogan because it’s short, it’s snappy and it’s easy to remember.

It also works because it’s true; the single best way to make anything happen is just to do it.

If you’re sitting around thinking of all the things you ought to be doing, you’ll never get anywhere. If there’s something to be done just get up and get on with it. The sooner you do, the sooner it’ll be done and you can get back to the other tasks on your To Do list ((or just chilling out)).

Even when it comes to big things, although you made need to break them down into smaller, more achievable chunks, you start down the road by simply taking that first step.

Yesterday, after much delay and dilly-dallying, I finally committed myself to attacking the 3 Peaks Challenge later this year. How? I contacted a journalist friend at my local paper and got them to run this piece on me to help me find a trainer.

Not only will I hopefully get some expert supervision and advice, but I’ve also announced the trip to the world in a way that will keep me honest, make me stick to my goals and motivate me to achieve what I’ve set out to do.

Expect more on the 3 Peaks and my journey towards it in the coming weeks. But, right now, what are you doing to “just do” today”?

Writer/Director ((and London Screenwriters’ Festival Hollywood Hookup guest)) John August has put this post up on his blog today (or probably yesterday, US-time) linking through to an original pitch document from Gene Roddenberry for STAR TREK.

The document itself is well worth a read, for insight if nothing else, but JA’s comments and thoughts are equally valuable. More than that, though, he once again shows his generosity in helping writers understand the process by linking through to three similar documents he created for un-produced TV shows.

Not many writers would have the confidence to share what is, essentially, rejected work with a wider audience. JA’s willingness to open his work to writers across the world shows not only his confidence and talent, but perhaps that we all could be a little more open in order to learn more about ourselves and others.

Read his full post here.