This one has been doing the rounds for a while and I was finally caught, bagged and tagged by my good friend Custard over at Front Room Cinema. So, ever the dutiful taggee and Mememeister, here are my astounding and mildly amusing answers to 15 seemingly random movie questions.

Enjoy.

 

1. Movie you love with a passion

Raiders of the Lost Ark

For me, Spielberg’s first outing for Harrison Ford’s archaeologist and mercenary is one of the finest pieces of celluloid ever made. This is the reason why cinemas were invented. Some movies make us think, some movies teach us stuff and some movies just give us a ride. This one has a little bit of everything. Pure cinema, no pretensions. Perfect.

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2. Movie you vow to never watch

Anything with ‘Movie’ in the title

Scary Movie, Epic Movie, Date Movie, Disaster Movie, etc. Dreadful, lame, unfunny spoofs churned out to make a quick buck without actually making anyone with a brain larger than a popcorn kernel laugh. Mel Brooks could spoof, Jerry Zucker could spoof but Jason Friedberg and his gang can kiss my pink ass. Kiss it!

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3. Movie that literally left you speechless

Antichrist

Hang on, was that Willem Dafoe’s….? Did Charlotte Gainsbourg just grab a pair of scissors and cut off her…? Did Willem Dafoe just…? Why’s that fox talking? I’ve seen horror movies and I’ve seen porn movies, but nothing quite prepares you for Lars von Trier’s bizarre mix of both, with added talking mammals. Don’t watch this with your mum.

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4. Movie you always recommend

Fight Club

I recommend some movies simply because they are great movies, but I recommend Fight Club because it’s a movie that has something very important to say and says it with David Fincher’s singularly brazen style. For anyone who lives and endures the myriad banalities of Western culture, watch Fight Club.

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5. Actor/actress you always watch, no matter how crappy the movie

George Clooney

Not only do I respect him as an actor who has managed to rise above the limitations of his good looks, and as a director and producer of great movies in his own right, but also because Clooney very rarely picks a bad project. He just seems to have the knack for picking interesting, challenging roles for himself.

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6. Actor/actress you don’t get the appeal for

Jason Statham

Give me a break. How did this wooden, boring, zero-charisma, no-talent pudding with a phoney accent that is neither English nor American manage to get to where he is? I just don’t get it. He’s like a throwback to the action heroes of the 80s, before filmmakers realised that they were better when they could actually act.

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7. Actor/actress, living or dead, you’d love to meet

Christopher Walken

How could that ever be a boring meeting? It would be impossible. Walken is incapable of being boring. The guy is like a force of nature. We could talk about his amazing career, about all the movies I watched just because he was in it for five minutes (Gigli, for one) and when the conversation ran out, he could teach me some wicked dance steps.

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8. Sexiest actor/actress you’ve seen. (Picture required!)

Tina Fey

Sure, there are plenty of good-looking actresses out there but sexy is a lot more than just that. Sexy is brains, beauty, talent and a great sense of humour and Tina Fey ticks all the right boxes. It also doesn’t hurt that she seems to be completely oblivious to her sexiness. And that’s also very sexy. It’s a sexy win/win!

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9) Dream cast

Star Wars Episode VII

Okay, so it’s a bit cheesy, it’s exceptionally geeky and it’s wholly unrealistic given that they all have a collective age of about 900 (the ones that are still alive, anyway), but how cool would it be to have the original Star Wars cast together again for a new episode? Huh? Can I get an Amen? No? You got a problem with old people or something?

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10) Favourite actor pairing

Ian McKellen and Patrick Stewart

Okay, there are actors and then there are British RSC actors. It’s not really my style to blow the trumpet for Blighty but the truth is we really do produce some of the greatest thespians know to stage and screen and when X-Men director Bryan Singer decided to cast two of my favourites in a superhero movie (of all things), he was having a very inspired day. Hurrah and huzzah!

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11) Favourite movie setting

New York

It’s magical but commonplace, grubby but pristine, antique but brand new. It can be an equally comfortable home to the most whimsical fairytales and the bleakest horrors. Six million movie sets rolled into one. Few places on Earth are as versatile as The Big Apple. And I’ve still never been there.

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12) Favourite decade for movies

The 80s

It’s probably got very little to do with the level of quality, although this decade delivered some of the best movies ever made. But this was the decade I grew up in, and the decade where my love of cinema truly blossomed. Raiders of the Lost Ark, Ghostbusters, Gremlins, Back to the Future, Terminator and the peerless The Breakfast Club. This was the decade when cinema got its imagination back.

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13) Chick flick or action movie?

You’re a troublemaker

I’m not falling into your nefarious trap, my friend. You can try to sow the seeds of despair and drive a wedge between the sexes with your loaded questions but you will not succeed! Evenings can be comfortably arranged to accommodate one of each, right? Yes, I am the bringer of harmony. Blessed are the peacemakers, for they shall be called big, fat couch potatoes.

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14) Hero, villain or anti-hero?

Villain (and enjoying it)

It’s a tough one, this one, but ultimately there’s something irresistible to me about the irredeemable bad guy who takes genuine pleasure in his work. Hannibal Lecter, The Joker, Richard III, or any villain played by Gene Hackman. They make being evil seem far more appealing than the sober, brooding heroes make being good.

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15) Black and white or colour?

Dumbass Question

Do me a favour. I am neither pompous enough to say I prefer black & white movies nor pedestrian enough to say I prefer colour movies. What kind of person dismisses a movie because of the colour it is? That’s like celluloid racism. Are you encouraging celluloid racism? Shame on you with your silly question.

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I got tagged by Peter at Magic Lantern Film Blog for this Meme. The mission? Come up with 15 filmmakers that helped shape the way I look at motion pictures. These are the filmakers whose movies not only inspired (or fanned the flames of) my passion for cinema, but taught me the rich language of the genre. The education never ends, of course, which is why I love it so much.

I’m running late, due to a two week holiday, but here I am and here it is. Enjoy, discuss, mock or admire.

1. Steven Spielberg

If you were to perform some crazy chemistry experiment and dilute cinema down to its purest form you would probably end up with a Steven Spielberg movie in a test tube. You can write him off as a bubblegum filmmaker if you like, but few directors can boast such a distinctive style and absolute grasp of the visual medium as this guy can. Able to inject his work with simple human warmth or terrifying human cruelty with equal ease, Spielberg understands his audience and how to entertain them. His influence is everywhere, in a generation of talent, and his adoration for the moving image is tightly woven into every frame he shoots. Absolutely peerless.

Signature movie: Raiders of the Lost Ark

2. David Fincher

One of the most striking and unique filmmakers to emerge in the last twenty years, Fincher’s lens peers into the darkness and brings it to life. He survived the studio and star nightmare of Alien 3, picked himself up and moved from strength to strength. Unlike many of his imitators, Fincher combines style and content, making intelligent and brooding films. Innovative title sequences, dizzying camera work and stark imagery that burns itself into the mind are the hallmarks of a Fincher movie. That, and his often surprising project choices. Frankly, he’s the only director who could make me interested in seeing a movie about Facebook.

Signature movie: Fight Club

3. John Carpenter

Carpenter has waned considerably over the last twenty years, and yet I still look forward to his upcoming The Ward simply because this could be the movie where he gets his mojo back. And Carpenter with his mojo is a force to be reckoned with. With Halloween, Carpenter demonstrated a mastery of suspense that few have matched. Of all the carbon copies that followed, not one ever measured up. And they’re still trying 32 years later.

Signature movie: Halloween

4. Alfred Hitchcock

Obvious choice, of course, but how can you avoid this one? Hitchcock may or may not have been the greatest filmmaker of all time , but he was certainly one of the most inventive. Without Hitchcock there might never have been the Dolly Zoom, director cameos, the slasher movie or Brian DePalma. Hitchcock constantly came to blows with the censors and pushed the boundaries of what was acceptable, plausible and possible in filmmaking, paving the way for modern cinema.

Signature movie: Vertigo

5. Francis Ford Coppola

If you need a lesson in the pitfalls and insanity of filmmaking, look no further than the CV of Francis Ford Coppola. From the daily battles with studio execs which haunted the production of The Godfather (where Coppola was often shadowed by a replacement director in case he was fired) through the Hurculean task of getting Apocalypse Now made (a production so troubled it got its own documentary), to the single-minded madness of One From the Heart (the cost of which eventually bankrupted him), Coppola is the guy who gets what he wants on film, at any cost.

Signature movie: Apocalypse Now

6. Martin Scorsese

The little guy with the big talent, Scorsese is the director you would want as a mentor. A walking encyclopaedia of cinema, he talks with the same frenetic pace that his movies use to tell their stories. With incredibly long tracking shots, slow motion zooms, fast zooms and quick cuts, Scorsese’s camera is an extension of the man’s boundless energy and is rarely still. He is also one of the industry’s best arrangers of soundtrack music, always choosing the perfect song to complement his scene.

Signature Movie: Goodfellas

7. Ridley Scott

His style has mellowed a little of late, his movies becoming grander in scale, but early on in his career Scott was one of the most visually unique directors around, producing two of cinema’s most influential Science Fiction films. Taking a B-movie script called Star Beast, Scott added his inherent eye for design, a desire to elevate the movie beyond the B, and gave us the outstanding Alien. He followed this with Blade Runner, which set the standard for visions of the future for years to come. Design has always played an important part in Scott’s work, and it is an area in which he excels.

Signature movie: Blade Runner

8. John Hughes

As a kid developing a passion for movies in the 80s, it would have been impossible for me not to include the late John Hughes in this list. Hughes was a capable talent behind the camera, but his true strengths lay in his screenwriting, his ability to coax career-best performances from his teenage casts and the warmth he instilled into his movies. Few filmmakers before or since have possessed Hughes’ skill for representing teenage angst without falling into the more patronising traps of lesser efforts. Hughes was a man of his time, who struggled when that time was over, but he was the best at what he did.

Signature movie: The Breakfast Club

9. The Coen Brothers

From the release of Blood Simple onwards, the Coens have continually marked themselves out as true originals with a remarkable record of hits. Save for only one or two exceptions, every Coen movie has been both singular and excellent. The next Coen project is always worth looking forward to. As accomplished as screenwriters as they are as directors, you are guaranteed cracking dialogue, inspired visuals and characters that are just a little larger than life. You will also most likely get screaming fat people, repetition of a single line for comic effect and at least one speedy tracking zoom. There’s no movie quite like a Coen movie.

Signature movie: The Big Lebowski

10. Sam Raimi

Joel Coen began his career helping out on the editing of a friend’s debut movie. That movie was The Evil Dead, and the director was Sam Raimi. Made on a shoestring budget, The Evil Dead showcased the arrival of an inspired, and rather crazed, talent. Raimi delivered the kind of camerawork usually reserved for those with far more expensive equipment at their disposal, and a few of his techniques can be seen in subsequent Coen movies. However, Raimi’s anarchic style seemed a little lost in mainstream cinema until the arrival of Spider-man.

Signature movie: Evil Dead II

11. Terry Gilliam

The least seen member of the Monty Python team, Gilliam makes movies brimming with the singular and surreal imagination which was present in his Python animations. Usually working with the most meagre of budgets, allowing him to retain creative control over all his work, Gilliam has sometimes struggled to get his projects completed. However, when they are completed they have a magical style and a sensibility all their own. They usually feature characters whose imagination is too large for the world they live in, crushed by the mechanics of a clockwork society. The irony is clearly not lost on Gilliam.

Signature movie: Brazil

12. Sergio Leone

The man who made Clint Eastwood famous with his trilogy of ‘Spaghetti Westerns’, Italian director Leone took the western genre and made it look ugly. Rejecting the good guy/bad guy set-up of classic American westerns, Leone’s contributions were simply filled with varying shades of bad guy. Even Eastwood’s ‘Man with No Name’ is merely the best of a corrupt bunch. The characters are unwashed, morally vacant and greedy, the landscapes unforgiving and barren. Leone’s frontier is a harsh place to be. Often utilising both extreme close-ups and haunting long-shots, Leone has long been held by Eastwood as a major influence on his own directorial style.

Signature movie: Once Upon a Time in the West

13.  John Landis

During the 80s, Landis was responsible for some of the best comedies of the decade, including The Blues Brothers and Trading Places, but it was when he introduced horror into the mix with An American Werewolf in London that he really reached his peak. Landis made comedies that looked as good as any of the more high-brow movies, each littered with his unmistakeable trademarks (static shots of watching statues or paintings, and references to ‘see you next Wednesday’). His career tailed off toward the end of the decade, but perhaps the forthcoming Burke & Hare will be a return to form.

Signature movie: An American Werewolf in London

14. George Lucas

As a director, George Lucas is included in this list on the basis of one film, and one alone. But what a film. Star Wars changed everything. It’s impossible to gauge exactly what impact that movie had on the 7-year-old kid I was, but I know it was profound, as it was with almost every kid around my age. Star Wars was like saying hello to the wonder of cinema for the first time. We’d never seen anything like it. There were a few flashes of that directorial skill in the three prequels, but for the most part those films were engineered rather than directed and Lucas would not have made this list based on those. But for changing the way we viewed cinema, his one contribution cannot be underestimated.

Signature movie: Star Wars

15. John Lasseter and Pixar

Before Toy Story, the feature length animated movie industry was sputtering along at an uninspired pace. Disney’s output had suffered a gradual slump in both quality and popularity, boosted only by the success of The Lion King. Pixar, a computer company which was originally part of Lucasfilm, had been experimenting with computer animation for years and entered into a deal with Disney to produce three computer animated movies. Toy Story was the first, directed by John Lasseter, and the rest is history. Not only did Pixar revolutionise how movies were animated, but they also completely modernised the storytelling. Suddenly, animated movies were not just for kids, but were written with a sophistication which could appeal to all ages. Pixar kick-started animation, with other studios quick to follow suit, and they are yet to produce a bad film.

Signature movie: Toy Story

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Okay, my turn to tag. Apologies in advance if you’ve already done it and I missed it.

Cantankerous Panda at Back in the Day

Rory Dean at Above the Line

John at John of the Dead

Dan at Top 10 Films

The Movie

Raiders of the Lost Ark is my all time favourite celluloid experience, bar none. There’s no other movie like it. Any collaboration between George Lucas and Steven Spielberg had a high chance of providing something special, and although none of the sequels lived up to the magic of this first crack of the whip, Raiders was a shining nugget of movie gold. There are certainly other movies that have connected with me more on an emotional or intellectual level, but no film quite gives me the pure chills, the goosebumps, that I get from Raiders of the Lost Ark. No other movie so effortlessly reminds me why I love cinema quite like this one. And no scene is a better example of why than the opening scene.

The Scene

South America, 1936. Indiana Jones (Harrison Ford) and his companion Satipo (Alfred Molina) have located a remote, hidden temple. We’ve already had a taste of what kind of character this guy in the hat is after he’s seen off an armed traitor in his group, using just a bullwhip. Classy.

The two men enter the temple…

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Why I Love It

The Idea

What an opening scene for a movie. What a way for a character to introduce himself. What a piece of pure, unpretentious, fluid cinema. There are few directors so adept at making the ridiculous seem plausible like Steven Spielberg, which is what made him the perfect choice to make Raiders of the Lost Ark. The idea was to bring back the old Saturday morning adventure serials, with their cliff-hanger endings and preposterous scrapes. In this, they succeeded and then some. The opening scene immediately drops us into Indiana’s life at its most exciting, almost as if we have just caught the end of last week’s episode.

The Icky Factor

Spielberg understands that as well as ‘oohs’ and ‘ahhs’, audiences also enjoy the odd ‘yuk!’ The Indiana Jones movies are crawling (literally) with moments such as these. Having already given us an army of tarantulas, we are then treated to the nasty fate of Dr Jones’ predecessor, Forrestal. He even makes squelchy noises as his decomposing head turns Indiana’s way. Yes!

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Walking the Traps

A bunch of faces which shoot poison darts? No problem. Just don’t tread on the darker, diamond shaped stones. This should seem like a breeze when you think about it, but thanks to Spielberg’s slow tracking shot along the wall of faces, and John William’s steadily building score, it seems more like the worst ever drink driving test.

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The Intimate Zoom

Having reached the Golden Idol, Indy stops for a moment. With Williams’ music reaching a crescendo, Spielberg takes time for a slow zoom onto the Archaeologist and his prize. For Indiana Jones at that moment, there is nothing in the world but he and the Idol. It’s the perfect little moment of character illustration. Then, we pull out again and it’s back to business. Gives me a shiver every time.

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Ford Falls Over

The boulder rolling down toward Jones has long since become an iconic image, but what I love about this part is the fact that, having done 10 takes of Harrison Ford outrunning the huge fibreglass ball, Spielberg kept the one take where Ford fell over. It gives the scene a little sprinkle of authenticity, and I’m sure the panic on Ford’s face is genuine.

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Trivia

There is a continuity error at the beginning of the scene. As Indiana Jones and Satipo enter the temple, they pass through a huge cobweb. When Jones leans downwards to walk through the web, there are spiders clearly visible on his back. Cut to a shot from behind the pair, and we can see that Indy’s back is now clear. Then Satipo notices spiders on Indy’s back! Magic South American disappearing tarantulas or Continuity Editor’s day off?

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It doesn’t matter, of course. One small continuity error can’t stop this being my favourite scene from my favourite movie. Long may it give me goosebumps and bring a cheesy smile to my face!

Now, this really was a difficult one. I could have made this a top 50 and still struggled with who to include and who to leave out. Ah, the agony of choice. But, the fact that I have other things to do means I’ll just have to stop agonising and post the damn list.

Enjoy, and please feel free to add your own suggestions.

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Allison Reynolds – Ally Sheedy

The Breakfast Club

The basket case. Allison is moody, withdrawn, a compulsive liar and by far the most fun member of The Club. She has the fewest lines but says a thousand words with each scowl from her hair-covered eyes. Allison is the perfect teenage enigma; she wants to be found but there’s no way she’s going to make it easy for you. Fact: she looked better before Claire’s makeover.

Greatest moment: The Cap’n Crunch cereal sandwich followed by defiant chewing.

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Amélie Poulain – Audrey Tautou

Amelie

Everyone needs an Amélie in their life. The self-appointed guardian of the hopes and dreams of those around her, Amélie avoids her own life by repairing the lives of others. If you could get near her without her freaking out, hanging out with Amélie would be a blast. Shy, imaginative and unbelievably cute, there are few characters in the world of cinema that deserve their happy ending as much as she does.

Greatest moment: The garden gnomes.

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Dory – Ellen Degeneres

Finding Nemo

Okay, so she’s a fish but she’s a female character, isn’t she? And fish or not, Dory is just lovable. Yes, she’s absent-minded and she talks a little too much. In fact, she’s the kind of character who would probably drive you insane eventually, but contained within this hour and a half of Pixar magic, Dory is golden-hearted, wilfully optimistic and totally endearing. Just keep swimming, just keep swimming.

Greatest moment: Speaking fluent whale.

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Ellen Ripley – Sigourney Weaver

Alien, Aliens, Alien3, Alien Resurrection

Quite possibly the toughest woman in the history of the universe, Ripley has watched a succession of men fall prey to the alien creature which then falls prey to her. Four times over. Not content with facing down the ‘perfect organism’, Ripley also busies herself tearing multi-national corporate power a new asshole. And she still finds time to satisfy her maternal instincts.

Greatest moment: Grabbing a power-loader and opening a can of whoop-ass on the Alien Queen.

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Laine Hanson – Joan Allen

The Contender

Senator Hanson is an example to all politicians. When her confirmation as Vice President is hampered by accusations of sexual indiscretion from an opponent, she chooses her principles of privacy and good politics over a defensive cry, refusing to deny or confirm the accusation in the face of overwhelming pressure to play the game. Hanson wins the day.

Greatest moment: Putting the President himself down when he asks her for the truth.

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Marge Gunderson – Frances McDormand

Fargo

Marge Gunderson is pure magic. At first glance she may come across as a simple, heavily pregnant, small-town policewoman but underneath that docile and well-mannered exterior are the instincts and tenacity of a bloodhound. Sharp as a razor, she sniffs out guilt with a mixture of amiable conversation and stern politeness. Underestimate Marge Gunderson at your peril.

Greatest moment: Telling off killer Gaear Grimsrud as he sits sulking in the back of her car.

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Marion Ravenwood – Karen Allen

Raiders of the Lost Ark, Indiana Jones and the Kingdom of the Crystal Skull

From the moment we meet her, running her own bar in Tibet, Marion is the only one keeping up with the Jones. Frankly, the adventuring archaeologist never stood a chance. Over the course of two movies she saves his life, machine guns a truck full of soldiers, survives a 50-foot plunge and the wrath of God, drives an armoured car off a cliff, has Jones’ son and then finally marries her man. You go, girl.

Greatest moment: The drinking contest.

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May Canady – Angela Bettis

May

She doesn’t mean to be weird, she just hasn’t had much practice socialising with anything other than the doll her mother gave her when she was a lonely child with a lazy eye. May tries hard to find a true friend, but makes all the wrong choices and it always ends badly. She doesn’t take the rejections very well. What was that her mother said? If you can’t find a friend, make one. Look on the bright side, at least May is creative.

Greatest moment: May gets dressed up for Halloween.

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Muriel Pritchett – Geena Davis

The Accidental Tourist

She’s a little eccentric and has a questionable sense of fashion, but Muriel Pritchett is the kind of woman who understands exactly what’s important in life. And she’ll always be there to remind you that you’re taking yours too seriously. Even it if it means following you halfway across the planet to do so. Also great with dogs.

Greatest moment: Condensing her entire outlook on life into the simple act of adding extra pickles to her Burger King Whopper.

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Sarah Connor – Linda Hamilton

Terminator, Terminator 2: Judgement Day

From diner waitress to the saviour of mankind in two movies. Not too shabby. Okay, that’s via the psychiatric ward, but when you start spouting off about the time-travelling, killer robot that chased you through the 80s, you’re bound to get a negative reaction. Mind you, by the second movie, it’s a brave man who gives Sarah Connor a negative reaction to her face. Just look at her. Would you tell her she needs to lighten up a bit?

Greatest moment: Escaping the asylum.

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They say the best movie soundtracks are the ones that you don’t notice are there. They feature music that enhances a film but never tries to compete for your attention. That’s all well and good, but personally I like the soundtracks that do both; the music that you find yourself humming later on and then buy because it is good enough to survive on its own.

I’ve been listening to soundtracks for as long as I’ve been watching movies, and that’s a long time. Sometimes I’ll listen because the music is excellent in its own right, sometimes because it’s just great music to daydream to, and sometimes because a particular score is the perfect inspiration for the writing of a screenplay. I once wrote an entire script around the music to a single scene in Aliens. Thanks for that, Mr James Horner.

Selecting a paltry five soundtracks from the plethora I admire was no easy task but eventually, after much hand-wringing and begging for forgiveness from the aforementioned James Horner, I settled on my Top Five. These are the soundtracks which I believe best represent the art in all its forms; as beautiful music in its own right, as the perfect enhancement to the story and visuals, and as examples of craftsmen at the top of their game.

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Alien – Jerry Goldsmith

1979

Long considered one of the most successful and enduring movie composers of all time, Jerry Goldsmith has been around since the Fifties and continues to work sporadically today. The story of his music for Ridley Scott’s Alien is one of disagreements and disappointments, but there is no denying the beauty of his work for the classic Sci-Fi/Horror movie. Hired by Scott at the ‘suggestion’ of 20th Century Fox, Goldsmith and the director clearly had differing ideas about how the movie should be scored. As a result, much of the music Goldsmith wrote was omitted from the final cut of Alien. The romantic, sweeping and eerie theme originally written was rejected by Scott and replaced by the composer’s second effort; a simple series of unnerving sounds which, it must be said, are extremely effective. Scott also chose to use a pre-existing piece of classical music for the end credits, further alienating Goldsmith. The original score is available in its entirety, but what remains within the film is deeply unsettling, beautiful and dark. Elements of his original opening theme survive in scenes where the Nostromo lands and takes off, making the process of landing a spaceship seem like an adventure in itself. And, taking the title of the movie to heart, Goldsmith creates ugly, unnatural sounds whenever the creature appears. Don’t ask me what they are, I prefer not knowing.

See also: Chinatown, Star Trek: The Motion Picture and The Omen.

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Edward Scissorhands – Danny Elfman

1990

The fourth collaboration between composer Elfman and director Tim Burton, Edward Scissorhands remains one of the most influential scores of the last twenty years. Elfman began his career in film by scoring his older brother Richard’s movie, Forbidden Zone, and soon after began his creative relationship with Burton working on Pee-Wee’s Big Adventure. Utilising a 79 piece orchestra and a choir, the music for Edward Scissorhands is rich, dreamlike and perfectly encapsulates the bittersweet themes of Burton’s most personal film to date. In addition, Elfman creates a hilarious tick-tock theme for the bland suburbia into which Edward appears, and a signature bombastic march which touches on the near insanity of the inventor (Vincent Price) and his bizarre machines. Elfman and Burton represent a perfect understanding between director and composer, and even if Burton’s work isn’t always accomplished, Elfman’s usually is. They say that imitation is the highest form of flattery, and it is a measure of this soundtrack’s success that its music-box chimes and soulful choral voices have become the signature sound for fairy tales and Chanel advertisements ever since. It has even been adapted into a ballet.

See also: Midnight Run, Batman Returns and Big Fish.

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The Fog – John Carpenter

1980

John Carpenter has always been a curious rarity as a filmmaker. Not only does he direct and, more often than not, write his movies but he also composes and performs the soundtracks. Not even Spielberg can do that (all praise His name). So, as sole creator of every component, Carpenter’s synth-based scores have always been the perfect accompaniments to the action on the screen. Often using a heartbeat thump as the base, Carpenter’s soundtracks heighten the tension considerably. His most famous is probably Halloween, but my personal favourite has always been The Fog. Carpenter uses very little in enhancing the eerie atmosphere of his coastal ghost story, but every fog horn sound and every light stoke of piano key burrows deep under the skin, priming the viewer for the experience. The thumping sound as the fog rolls into Antonio Bay mimics the pounding on doors, the noise which announces the spectres before they strike. It is one of the greatest horror movie scores of all time, by a composer who fully understands the genre. Carpenter’s band, The Coup De Villes, also provided the somewhat cheesy tunes which play on the radio, or serve as jingles for the KAB Radio station.

See also: Halloween, Escape From New York and Big Trouble in Little China.

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Jaws – John Williams

1975

If you mention Jaws in conversation, one of the first things that will come to mind is the theme tune. Dum dum dum dum, etc and so forth. Effective and iconic as that theme is, it sometimes results in the rest of the soundtrack being overlooked. This is a shame because, beyond the ominous strings which more than compensate for the killer shark’s rather rubbery presence, Jaws enjoys one of the most accomplished scores in cinema history. John Williams has been working in the industry for half a century, and is responsible for some of cinema’s most recognisable theme tunes, including Star Wars and Indiana Jones. Jaws marked Williams’ first collaboration with Spielberg, a collaboration that has now spanned 35 years and 19 movies. By turns haunting, joyous, foreboding and terrifying, Jaws is a master class in writing music to accentuate the moving image. Williams’ strings make the ocean seem filled with dread, he quietly adds atmosphere to Quint’s tale of the USS Indianapolis, and the cheerful sea shanty which accompanies the Orca’s doomed pursuit of the Great White strikes a gloriously upbeat note in the midst of the peril. It was the perfect start to such a successful collaboration.

See also: Raiders of the Lost Ark, Star Wars and Schindler’s List.

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The Mission – Ennio Morricone

1986

The chances are there is at least one Ennio Morricone score that you love, and probably more. Morricone has been producing music for film for over 50 years, across a diverse range of genre and language. He gained wide acclaim for his work with Sergio Leone on the Spaghetti Westerns of the Sixties and managed to write a score for John Carpenter’s The Thing which sounded like a Carpenter score. However, when I hear the name Morricone I immediately think of one movie: The Mission. Roland Joffé’s story of Spanish Jesuit missionaries in 18th century South America, and their struggles with the Spanish and Portuguese colonial governments, was graced with some of the most beautiful music ever composed for film. Morricone mixes classical Baroque orchestra, South American Guaraní instruments, Spanish guitars and haunting choirs to magnificent and often heartbreaking effect. The emotional punch of Morricone’s work even filters down to the simple tune which Father Gabriel (Jeremy Irons) plays on his oboe, a tune later reprised with full orchestra for the track On Earth As It Is In Heaven, which is breathtaking.

See also: The Good, the Bad and the Ugly, The Untouchables and Once Upon a Time in America.

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The Also Rans:  Star Trek II: The Wrath of Khan – James Horner, The Bourne Identity – John Powell, The Assassination of Jesse James by the Coward Robert Ford – Warren Ellis and Nick Cave, Psycho – Bernard Herrmann, Solaris – Cliff Martinez.

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Note: Click on all the images to see them full size.

If you love movies as much as I do, there’s a good chance that you love movie posters too. You probably have them on your walls, use one as your desktop wallpaper, and perhaps even collect movie posters like some people collect Picassos. I have a few myself, and why not? Some movie posters truly are works of art. Or at least, they used to be. Perhaps I’m wrong, perhaps I’ve got another case of that rose-tinted nostalgia-vision, but it seems that the hand-crafted movie poster has become an endangered species.

Growing up in the eighties, I spent my childhood in awe of the great movie poster illustrators, the artists whose work embellished the films I worshipped. I was a budding artist as well as a movie fanatic, and the eighties may have been the heyday of the movie poster artisan. It was, I see now, the perfect time for me to grow up in. Part of the excitement of any new movie, particularly those by the likes of George Lucas and Steven Spielberg, was that first glimpse of the new artwork by Drew Struzan or Richard Amsel. These were artists who created posters upon which their signature was redundant. You knew who had created it simply by the style of the illustrations. They were in a league of their own, and in my opinion will remain so.

Star Wars reinvigorated the movie poster, accentuating the concept of the one sheet as a collectible piece of artwork. That’s not to say movie posters weren’t collectibles before then but, as it did with so many other things, Star Wars set the bar a little higher. The movie poster was suddenly romantic and energetic again, and the best designs for Star Wars ably captured the film’s wonder, sweep and spectacle. The posters were not just promotional tools, but important artistic creations in their own right. Perhaps, the most famous is the image of heroic Luke Skywalker, complete with accentuated physique, holding his lightsaber aloft, with the giant head of Darth Vader in the stars behind him. Known as Style A, this was a poster design interpreted first by Tom Jung (who would create posters for all three of the original Star Wars trilogy) and then by The Brothers Hildebrandt, with dramatically differing styles.

Drew Struzan’s poster for the film, in collaboration with airbrush artist Charles White III, was a nostalgic piece harkening back to the Saturday morning serials upon which the movie was based. It has a torn poster on plywood effect that only came about because the original design had no room for the movie credits. The romantic design ethic continued with The Empire Strikes Back. Roger Kastel illustrated the classic poster for the Star Wars sequel (see below), having previously created the iconic image for Jaws. Again, it is an evocative illustration encompassing a montage of scenes and characters. The fantasy and romance pours from the poster and the colours beautifully reflect those of the movie. Tom Jung also created his own poster for the movie, featuring a striding Darth Vader holding out his hand, a pose reflecting the movie’s famous and oft-quoted line, ‘I am your father’.

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Richard Amstel produced two wonderful illustrations for Raiders of the Lost Ark, having earlier worked on the poster for Flash Gordon (above). The Indiana Jones series, a natural successor to the romantic nostalgia of Star Wars, followed suit in utilising great artists to render promotional materials. Amsel’s work on Raiders still ranks among my favourites of all time (see his alternative version at the top of this page). The beautifully realised image of Harrison Ford lifting out of the sandstone (a mix of watercolour, acrylic, airbrush and coloured pencils) is not only iconic, but sets the tone and setting of the film perfectly. Again, Drew Struzan was given the chance to create his own design for the film, for its 10th anniversary re-release. Sadly, Richard Amsel died in 1985, only thirty-eight years old. Struzan then became the go-to guy for the Indiana Jones movies, as well as many others connected with the Spielberg/Lucas machine, such as the Back to the Future trilogy and the Star Wars prequels.

It would be remiss of me not to mention that there were many great artists working during this period. John Alvin created the famous poster for E.T. the Extra-Terrestrial which portrays the fingers of the alien and Elliot touching. The idea paid homage to Michelangelo’s The Creation of Adam (suggested by Spielberg). Alvin was also responsible for the paws emerging from a box for Gremlins and the original poster for Blade Runner. Bob Peak created the art for each Star Trek movie poster, throughout the eighties. They, and many more like them, are the reason why movie memorabilia from that period is among the most sought after.

These days things are different. The ease and speed at which a poster can be knocked together using Photoshop means beautifully hand-rendered movie posters are a far rarer beast. To the men signing the cheques, it’s far cheaper to hire someone to sew together a couple of head shots or do a photo montage on the computer. I understand it, this is a business after all, but there was something about those old posters that fired the imagination and stoked the sense of wonder as you awaited your first screening of the next celluloid dream. They produced the kind of artwork that cannot be achieved with a mouse and keyboard, any more than an Impressionist masterpiece can be. The industry no longer seems to need the artists the way it once did, and it is always sad when an art form becomes surplus to requirements.

Struzan is still working, however rarely, and still producing immaculately hand-drawn posters. Hellboy was graced with his work along with, naturally, Indiana Jones and the Kingdom of the Crystal Skull. However, the golden age of he and his peers is long gone. At forty, I may grumble about my age, but I will always be grateful to have spent my formative years during the heyday of these unsung artistic giants. And I will always remember how I was just as influenced and inspired by the artistry they used to promote the movies as I was by the movies themselves. Thank you, guys.

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Drew Struzan’s website

A wonderful site dedicated to the work of Richard Amsel

Tom Jung’s page at IMP Awards

John Alvin’s website



I love movies. I love them. I’ve always loved them and I always will. I love watching them, I love writing them and I love collecting them. To me, there is no other medium like it. I enjoy music, I enjoy books, but it is in cinema that I find the true spark of passion and joy that can only come from knowing you are where you belong, you are in a place where everyone speaks your language. It’s in the shiver that runs down my spine when the camera slowly moves toward Harrison Ford’s face, as he studies the golden idol he is about to steal in Raiders of the Lost Ark. It’s in the way my heart breaks when Al Pacino opens his mouth and lets a lifetime of regret emerge as an animal howl at the end of The Godfather III. It’s Morgan Freeman’s eyes in Seven, the Orca sailing out to sea through the teeth of a shark in Jaws, or John Hurt starting to cough during dinner in Alien. It’s two hours in another world. It’s magic.

It started with my father. And, no doubt, some genetic predisposition, since my brother did not develop the same passion. From an early age, dad passed to me this love of cinema. I would sit and watch countless movies with him, while he would explain to me why certain shots were set up a certain way. How, for example, Hitchcock would often frame his characters claustrophobically, using stair banisters to simulate bars and signify their entrapment. Through years of viewing, I began to understand the language of cinema, recognising the style of certain directors, the signatures that appeared in their work. I would smile when Spielberg used a shadow because I could name all the other times he had done it. I recognised the way John Carpenter took the basic premise of his favourite movie, Rio Bravo, and made a series of brilliant horror movies from it. I saw the symbolism of oranges in the Godfather movies. No, honestly. Oranges. Oranges signify death. Watch all three movies again and you’ll see.

I’ve accumulated a vast wealth of, let’s face it, potentially useless movie knowledge. I mean, who cares if Scorsese slowed the frame rate of a certain zoom on Robert De Niro in Goodfellas, just ever so slightly, because it made him appear more menacing? Who cares that Hitchcock made Psycho in black and white because he didn’t have enough of a budget to make it in colour? I care. Because this is my passion.

I’m old enough to remember a time when movies were almost a once only experience. It was either a trip to the cinema or catch them on television, three years later. So, I look back very fondly at the early eighties, and the advent of home video. The sense of wonder I felt at the fact that it was now possible to own a movie, in a box with a cover, was absolutely overwhelming. The local video rental store became a holy place for me; thirteen years old and staring, wide-eyed, at the store walls, lined with movies. In boxes, with covers! I could choose one of those movies, take it home and watch it whenever I felt like it. It was incredible. And what a choice! At the cinema it was a choice of three. Here, I had a choice of hundreds. My appetite increased in direct proportion to the nourishment available.

Of course, when I try to convey that sense of awe to my son, himself now thirteen, I’m met with the same kind of amused condescension I used to give my dad when he told me how cool his Davy Crockett hat was when he was thirteen. The wheels keep turning.

Movies have been the one constant in my life. While other loves have come and gone, my love for film has remained, concrete and undiminished. This, I’m afraid, is carried through to my love of movie memorabilia. I’m not an insane collector. I can’t afford to be, but I do have my own little movie shrine set above the fire in my lounge. And on the walls. And a few other places. They say that men never truly put away their toys, they just move up to more expensive ones. For some it’s cars or bikes, for some it’s sports, and for some it’s hi-tech gadgets. For me, it’s movie memorabilia. Posters, books, and yes, toys. You can call them that, if you must. I mean, I don’t run around playing with them. They just sit there, which to my mind puts them under the category of ‘ornaments’, right?

Yeah, that’s what I thought.

I always had aspirations towards working in the movie industry. As a child, I vacillated between all manner of the more whimsical ambitions. Actor, stuntman, special effects, storyboard artist. Each month I moved onto a new career path. In my early thirties, I took the more pragmatic step of running my own video rental store. I hoped I could recapture the magic of those places from my childhood, but by that time the rental industry had become commonplace, corporate and regimented. The magic had gone. I was just a faceless guy in a T-shirt, handing out video cases to an undemanding public.

So, finally, I sat down one night and decided to start writing a movie. I don’t know why it had never occurred to me before, and I couldn’t tell you why I decided, on that particular night, to start. Something in my head just clicked. A few months later, I had my first completed screenplay, Dark Road. I immediately started another, and shortly after that, Dark Road was optioned. The option was dropped a few years later, but my fourth screenplay, Debunking Dad, won the BAFTA/Rocliffe New Writers Forum in 2008. There have been successes and failures, and the ultimate success has not yet been reached, but I’m confident I will get there.

Who knows? Maybe one day, a scene from one of my movies will give someone a shiver down their spine. Maybe one day, something I wrote will inspire someone else to do the same. And maybe, just maybe, there’ll be magic. And toys.

Sorry, I mean ornaments.