At Darren's World of Entertainment - a movie, DVD and game review blog.
The latest movie and DVD reviews - plus game reviews as well. And cool stuff thrown in when I see it.
Cast: Nick Cave, Kylie Minogue, Ray Winstone
Director: Iain Forsyth, Jane Pollard
I've never really been a Nick Cave fan.
Aside from an appearance in The X Files with Red Right Hand and Where the Wild Roses Grow, he has always evaded my radar.
But thanks to the doco / concert piece / constructed snapshot, 20,000 Days on Earth, that's suddenly all changed. Set on Cave's 20,000 Day on Earth, this piece is part psychology, part staged and all impressive. Taking in Cave as he goes about his routine in Brighton in England, this collaboration between Cave and British film-makers Iain Forsyth and Jane Pollard manages to capture the essence of what has always appeared to be the aloof vaguely demonic figure of Cave himself during the recording of 2013 album Push The Sky Away.
But it does more than strip away the veneer of an artist - it reveals the man within (and his pomposities). Which is exactly what you'd expect of a doco piece, except it delivers more than that, pulling together a unique look at the creative process and some insight into the man himself. Self-effacing and occasionally revealing, Cave is willing to open up the world to his enigmatic presence, as he cuts a swathe through the Brighton landscape like an eloquent Grim Reaper.
Visiting his own archives and taking in some time with a shrink, Cave peels back a few of his own layers, via photographs and concert performances with the Bad Seeds - it's a fascinating insight into a figure who's worshipped and revered by many, but it's to be remembered he only really teases out a few biographical details.
Appearances from Ray Winstone and Kylie Minogue in Cave's car as he drives around the seafront of Brighton make it seem like they're fleeting memories, ghosts into his past and splinters of his own psyche as they talk the creative process and their approach to it.
Forsyth and Pollard have crafted something uniquely electrifying; blessed beautifully with rich cinematography that captures the essence of a creating music, an artist in motion and a band delivering a series of utterly riveting performances, sparsely scattered throughout.
As the final performance reaches a crescendo, the duo cut back and forth into various performances of the enigmatic Cave and his band playing the same song, and you just can't tear your eyes away from the screen as the acoustic epiphany plays out. No doubt this constructed piece of cinema took a lot of time to pull together; however, it succeeds as it feels natural, thrilling and original - a fitting tribute and peek into the tantalisingly creative (and occasionally pompous) genius that is Cave.
Ultimately, 20,000 Days on Earth will win over new fans to his cause, just in time for his visit to these shores as well as satiating the long time followers - but thanks to Forysth and Pollard's directorial touches, it also represents a redefining of the handling of a subject within a musical movie.
SYDNEY, 22nd August 2014 – Today Codemasters® released a new hot lap video for F1 2014. The hot lap is set by Daniel Ricciardo’s Red Bull RB10 and marks the return of Austria’s Spielberg circuit to the FORMULA ONETM calendar, which brings a classic track with dramatic changes in elevation back to top level motorsport after over a decade’s absence.
It is the first time the track has featured in an official FORMULA 1 video game from Codemasters and is one of four circuits which offer new gameplay experiences in F1 2014, including the new Sochi Circuit in Russia, the return of the Hockenheimring to the calendar which last held a race in 2012 and the BAHRAIN GRAND PRIXTM which was run as a night race for the first time in 2014.
This year, Nico Rosberg’s Mercedes won at the stunning nine-turn circuit which was based upon the old A1 ring and last hosted a FORMULA ONE race in 2003. It records some of the quickest lap times on the calendar and the undulating track features a testing combination of fast and slow corners which make for thrilling racing. The video is now playing athttp://youtu.be/SCFQ0vIBAZM
F1 2014 will arrive across Australia & New Zealand on October 16th for the Xbox 360 games and entertainment system from Microsoft, Windows PC and the PlayStation®3 computer entertainment system. Codemasters will then introduce a new FORMULA 1 title in 2015 the Xbox One all-in-one games and entertainment system from Microsoft, Windows PC and for the PlayStation®4 computer entertainment system. With more to be announced through production for both titles, follow Codemasters F1 games blog and social channels on Twitter and Facebook for updates.
Interview with Inbetweeners co-creator, writer and director Iain Morris on The Inbetweeners 2 movie
Iain Morris, the co-creator, writer of The Inbetweeners TV series and co-writer and director of the second film was in Auckland for the premiere of The Inbetweeners 2 and spent some time chatting about the future of the franchise, why a corpse was a threat and comedy in general...
So, Iain, everyone wants to know is there a third Inbetweeners on the way?
No definitely not - I know we said that about the second one, but we hadn't intended to do that at all and the response was so great, that people kept saying to us "Are you going to do another one?" and we'd say no, they'd say "Why not?" and you'd go "dunno" and they left feeling really disappointed. So this film was kind of the response to that.
It took us three years to come up with something that we felt was right. Damon (Beesley, co-writer and co-creator) and I were "Look let's just think about doing a second one, let's just investigate maybe the possibility of where it could happen, what could happen and what the storylines could be" and when we started doing that, we were like, "Ok maybe there is a film here.."
Even after the first one, we weren't like "we've got to do a sequel", it was more let's see if we can find something worth doing. But because of that, the film feels like a last hurrah - we're throwing everything at it. You've got to know when to leave it - it's the right time to leave the party, we don't want to overstay our welcome.
The guys were quite reticent to get involved - was it a case of showing them the script after it had been done?
Yeah, I think Damon and I had a long think about it, then we talked to them, theoretically and the truth was after a few months, they all missed each other; they are really close friends and obviously when they're not forced to be together, they hang out like friends. But like all friends who live in different places and are busy, they missed each other. Then we had a long, very bad script, which they very sweetly read and helped us with and I think that kind of did it for them and they thought it was worth doing it. I think they missed it - we certainly missed them and we just realised that very few times in your career do you get something that you love doing and people love and want more of. It felt like it's kind of totally the wrong thing to do to not respect that. We are incredibly lucky and fortunate to be where we are and I think we all appreciated that.
Do you think that this is due to the UK model of comedy, the 6 episode series rather than the US 22 episode series?
Do you mean people are still keen because there aren't so many of them? Yep, and not sick of it because they're doing 6 - 7 months of it
Yeah, I think so, I think it probably helps. I wish there were 400 episodes of the Inbetweeners and I wish they were like the Simpsons and they were that good. But there are not, because we wrote every single one and that's how we did it. I don't know necessarily that it's a better model than the American model but I guess you have people who've created the show all over every single episode. But then if you look at Veep, they're making 12 episodes of that and they've got different groups of writers on that and that show is phenomenally good I think. Similarly, like Larry Sanders and Seinfeld, The Simpsons' quality is pretty high - and I think if you get it right, you can. If you don't, it's not right.
Were you keen to direct the second film, having stepped back from the first and having directed the final episode of the series?
We weren't really, not from the start. I think then it got to the stage where we were like we just wanted to challenge ourselves. We didn't want to repeat ourselves and the process, we wanted to try to make it more difficult for ourselves. Life's short and you want to do those sorts of things so that was why. As we were, we learnt a lot and hopefully it was okay.
The boys were unbelievably unsupportive and literally took the piss constantly about us doing it in front of everyone - including the crew the whole time. So that made it more challenging but it was great fun. Ben Palmer, who directed a lot of the series and the first film was incredibly collaborative and let us sit next to him on set so we learnt a huge amount from him, which was great.
You shot in Australia, so would you make the jump to film in New Zealand?
I'm desperate to make films here. One of my best mates is Taika Waititi, I had lunch with him yesterday and I'm in awe of everything he does, I love his films so much. I'm still good friends with Bret and Jemaine. (Of Flight Of The Conchords) I'd love to come here and make something with them. I went to stay with Bret in Wellington a year ago and he showed me all the Wellywood stuff and the studios, and it's incredible. It's an incredible set up. The trick is to find a film that I can make in New Zealand because I can't imagine anything better than shooting here.
Have you seen Taika's new film, What We Do In The Shadows?
I saw a rough cut of it for notes about a year ago and gave him some thoughts - I'm excited to see it and will probably go tomorrow night. He's a genius, a stone cold genius and Jemaine is amazing and I'm just thinking it will be a brilliant film. I mean how they did it with low budget and stuff, that's one of the reasons I love New Zealand, is that the idea that a film like that can be made and supported here, it's so brilliant.
What We Do In The Shadows
You've had that kind of home love with The Inbetweeners though - does that give you a bit more pressure?
The first film was quite interesting because I think everyone thought it would be shit, because they were thinking of films that had been made from sitcoms in the 1970s whereas we were thinking of it more like In The Loop, the film from The Thick Of It. And then there was the pressure but more to prove people wrong whereas this one, it was three years later and everyone was like "Oh obviously they're making a sequel to the film, and obviously this will be fine because all films based on sitcoms are fine". We were like "Wait a minute, three years ago, you said it was going to be terrible!"I felt an enormous amount of pressure then and I still do really, the box office numbers come in and you're competing against yourself really.
The first night's figures (from the UK) came in and they said it's the highest ever British box office opening for a comedy ever and I was like "Wow, oh it's a record. Who did we beat?" Erm, The Inbetweeners 1 - so we had that record already.. we were beating ourselves and losing against ourselves. I think it was an enormously pressured experience but we were lucky to have surrounded ourselves with people who were brilliant; our first AD and director of photography were particularly brilliant and the boys were very supportive in their own way; our editors are brilliant.
It seems like there's a real camaraderie between you and the boys?
Oh, they are unbelievable; the four of them together are a nightmare, but they are brilliant;they're incredibly funny. When there are car shots and it's just the four of them, they are amazing; genuinely so. A lot of it is drawn from our own experiences but they are very easy to write for; it had been a few years off, so initially Damon was like "How do we do this again, how do we..."
Iain and Damon Beesley
All we did was a good read through early on with us and we were like "Oh that bit may be funny, but that's not how they do it" and they were finding their characters again too. Unlike the first film, we watched back the first series to think about this film, and it's closer to that first series than it is to the last film in many ways. It's about expanding your personality and it doesn't have a happy ending like the first. It seems to be truer to life. Like university, the opening sequence is based on my life; I went to a party and I'd been told it was fancy dress. Then, when I got there, they were like "We've tricked you" and I was Ok... Like Will, I thought this is where I get carried shoulder high because I'm so witty and brilliant and erm, that was not the case!
The opening sequence made me think I was watching a different film. It's audacious and different...
Thank you. We realised we were back after 3 years and we wanted to do something big and we also were just thinking about how to open a film. I think intellectually, it's a weird thing because if it hadn't been for the TV show, you wouldn't know what it was and you'd be confused I think. But I believe that you've bought a ticket that says The Inbetweeners and then you've gone to a screen that says the Inbetweeners, so you're watching that film and then you get that opening, so you have to play with expectations I think. But also you're just settling into your seats for the film and we wanted something different. You can have them walking down to an helicopter for an opening shot, which is what the original opening was, but Momaco, the production company, when they started talking about it, we thought Let's just try it. We were watching a lot of True Detective at the time as well which has got a title sequence that's a work of art - maybe titles sequences are cool again. These films just kind of start and we though it would be a cool thing to have. I'm glad you picked up on it though, as we spent a lot of time working on it and I'm still on the fence with it. It was audacious as opposed to 100% successful.
You shot in Australia at the same place as The Rover, Marree - how was that?
All of Australia was great; Wet'n'Wild where we shot on the Gold Coast was incredibly helpful to us despite what the final product was! We were very secretive about what we were doing and when they saw it at the end, they were "Oh, this happens all the time, we've got a button that just clears it all out!"
We had to shoot before the park was open so all of their staff were there at 4 in the morning, that was great but Marree was something else entirely. It was like a dream, shooting there. You had a totally empty location; logistically I didn't have to worry about getting there. There was a point though when I was driving the boys out there when I became hysterical though. It's a 2 1/2 hour drive after a 2 1/2 hour flight from Adelaide so it's properly remote. And about an hour in, I knew trucks were coming in from Melbourne and from Adelaide and that we were doubling the size of Marree and I just thought " This is not how a proper director does it" This is like making a film on the moon and setting it on the moon...they get lost in the outback in the film and so you'd better find a place in the outback...it was 50 degrees some days; but the people who run that pub in Marree are exceptional, incredibly welcoming and friendly, so that when we came back after shooting it, it was exciting. I found it genuinely quite moving when I left Marree - I love this place and it was weird. There is no way I will not go back to that place in my life. It's about as alien a spot on the planet - I felt really at home there. In the mornings we'd drive out, the sun was coming out over the Outback, it was beautiful. What a place....I've got to see The Rover yet, and David Field who was in that, is in our film too.
Criticisms about the gross out humour have been levelled at the film - The Daily Mail has slammed it; how do you feel about that?
Well, I think, if the Daily Mail likes it, then we've probably done something wrong! I don't pay attention to anything else it says, so we've had good reviews in the likes of The Times and The Telegraph and I think they get it. People in general get it. Weirdly cinematic experiences aren't about beautiful shots, to me they're about really laughing hard in a cinema with 400 other people which you don't get if you watch a TV show.
You were mercilessly teased on set - how did that make the directing experience?
Whatever you imagine, times it by 10 - (James) Buckley's a comic genius and very quick - as is Joe Thomas; you think Blake is sleeping but he has killer one-liners but Simon Bird is the worst, because what Simon Bird does is he's like a little stirrer. He stirs it all up, gets it going, then he stands back and pretends he's totally innocent. It took us about a series to work that out. He's the one that starts it all then the others carry it on.
We were trying to set up a shot, having a discussion with the DOP in Byron Bay, I was having a conversation with him about alienation and why I thought it was important and I could hear the four boys standing next to me saying "If we dug up a corpse from a graveyard, it could direct this film better than Iain. Shall we just get a scarecrow?" I'm trying to block that out while they're a foot away from me. Like an abused spouse, they can do whatever they like to me because I'd be back saying "I love you..."
The Inbetweeners 2 hits New Zealand cinemas on August 28th.
Digital Nationz reveals unreleased games preview details
Preview biggest range of unreleased games at DIGITAL NATIONZ
Assassin’s Creed Unity/Rogue and Far Cry 4 at DIGITAL NATIONZ 2014!
This year’s Digital Nationz (DNZ) has New Zealand’s biggest gaming line up ever! The 27-28 September event at Auckland’s Vector Arena features a huge selection of unreleased games available to preview and play along with a LAN championship, world class speakers and pre-release technology products, showcasing an amazing breadth of content.
Gaming titles this year include Assassin’s Creed Unity, Assassin’s Creed Rogue, Far Cry 4, Alien Isolation, Fifa 15 and The Crew with more to be announced in the next few weeks making it the biggest range of unreleased games in New Zealand so far. DNZ will be the first place in New Zealand to experience these killer titles.
DNZ is premiering its first LAN event, incorporating the Big Pipe LAN Party and the Logitech G Power Pro Championships. Up to 500 players are able to compete in the championship for more than $30,000 worth of prizes. Nine games will be included in the Championship LAN, including favourites League of Legends and DOTA 2. Championship LAN tickets are available for $89 and $69 for the Big Pipe LAN Party.
This year DNZ also invites more than 10 speakers from around the world to share their knowledge with show-goers. The first selection of speakers confirmed for the LG DIGITALKZ speaker sessions are: David ‘DJ’ Johnson, Lead VFX artist at Infinity Ward, Jason Sussman, Environmental Artist at Bungie Studios, Fletcher Dunn from Valve, Josie Nutter, Software Engineer & UX Specialist at Technical Illusions, Dr Michelle Dickinson from the University of Auckland and Dmitry Selitsky from Thought Wired. The LG DIGITALKZ sessions will cover everything from game development to controlling apps and smart devices with mind control.
Technological advancements being achieved on a weekly basis and one of the most important areas of development and growth is electric vehicles which will feature at DNZ with its first electrical vehicle showcase. Three electric cars will be on show: the Tesla Roadster, Nissan Leaf, Mitsubishi Outlander PHEV as well as a working drivetrain system to show the inner operations/workings of an electric vehicle.
“This year we are packing the show with content! DNZ will have a massive line-up of playable unreleased games, an array of impressive international speakers as well as new exciting technology and our first ever LAN competition. And this is just our first announcement, we have plenty more to come!” says Peter Hall, DNZ Event Manager.
Tickets are now on sale with prices starting from $19 for an adult general admission one day pass and $14 for a concession pass for under 15 year olds, students and over 65 year olds. A booking fee applies and pre-event tickets are available online from www.ticketmaster.co.nz, or at the door during the event weekend.
Speaker Bios:
David ‘DJ’ Johnson, Lead VFX Artist at Infinity Ward
David Johnson is the Lead Visual Effects Artist at Activision/Blizzard’s Infinity Ward Studio as a hands on artist as well as supervisor/coordinator to multiple ATVI studios. David has 15 years of computer graphics experience, of which 13 has been dedicated to video games. David has shipped a remarkable 15+ video games and contributed on some of the largest names in video game history including the Call of Duty and Halo franchises. The combined revenue of games David has worked on exceeds 3 Billion Dollars, and have broken multiple records for units sold. David is an active VES member as a Board of Directors alternate, and member of the education and membership committees.
Jason Sussman, Environment Artist at Bungie Studios
An Army veteran from Dallas, Texas, Jason Sussman brings 14 years of gaming industry experience to his role as Senior Environment Artist on Destiny. Of those 14 years, eight years have been spent at Bungie, creating single player and competitive multiplayer maps, and DLC environments for Halo 3, Halo 3: ODST, and Halo: Reach. Currently, Jason designs and creates destination environments for Destiny’s Mars location.
Jason will be found around the Big Pipe – Media Design School stand to do more Q&A’s when he isn’t speaking and is coming courtesy of Media Design School.
Josie Nutter, Software Engineer and UX Specialist at Technical Illusions
Josie Nutter is a software engineer and UX specialist with almost two decades of experience in the video games industry. She has a B.S. in Human Centered Design and Engineering from the University of Washington, where she received the Undergraduate Award of Excellence for demonstrating special strength in innovation. Coming from a background in gameplay and tools programming at companies such as Crystal Dynamics, Snowblind Studios, and PopCap Games, she is now working on the software side of castAR (projected Augmented Reality) for Technical Illusions after helping launch a successful Kickstarter campaign that raised over $1M.]
Dr Michelle Dickinson AKA Nano Girl, University of Auckland
Michelle has a talent of being able to break pretty much anything put in front of her, which is lucky because that’s her job. As the director of New Zealand’s only Nanomechanical testing laboratory Michelle gets to make and break things on a daily basis.
With regular slots on National television and radio, Michelle is passionate about explaining complex concepts in everyday language and strives towards breaking down the barriers created by high walls of scientific and technical jargon. Lots of people collect things and Michelle likes to collect certificates, including one that says PhD and a couple of other postgraduate qualifications, the desire to keep learning and challenging herself never stops. With an internal compass that seeks out adrenaline and adventure, Michelle is often found salinating her skin while kitesurfing, exfoliating her fingertips on a rock climbing mission, or creating tree bark skin impressions from a mountainbike ride. Michelle tries to break all the stereotypes that are traditionally associated with the tech field, by bringing her high energy personality, an enthusiasm for gadgets and a style of presenting that will make you want to join in too!
Dmitry Selitsky, Founder and CEO, Thought-Wired
Dmitry founded Thought-Wired with the vision of making the world accessible to everybody. On their journey to develop assistive solutions based on direct brain interfaces and principles of user-centred design, thought-wired gained invaluable knowledge and expertise for working with the newest interfacing technologies. Now they want to share that knowledge with you.
Fletcher Dunn, Valve
Fletcher has been making video games since 1995 and has around a dozen titles under his belt on a variety of gaming platforms. He worked at Terminal Reality in Dallas, where as principal programmer he was one of the architects of the Infernal Engine and lead programmer on BloodRayne. He was a technical director for The Walt Disney Company at Wideload Games in Chicago and the lead programmer for Disney Guilty Party, IGN's E3 2010 Family Game of the Year. He now works for Valve Software in Bellevue, Washington. Oh, but his biggest claim to fame by *far* is as the namesake of Corporal Dunn from Call of Duty: Modern Warfare 2. Fletcher Dunn will be found around the Big Pipe – Media Design School stand to do more Q&A’s when he isn’t speaking and is coming courtesy of Media Design School.
Interview with Inbetweeners 2 stars, Simon Bird and Joe Thomas
The lads were in New Zealand for the premiere of their Australia set movie and took some time to chat about the end of it all, what's next for them both and to share some of their stories about how they treated director Iain Morris...
You've been in the roles now of Will and Simon since 2008, has it been fun - and is it still fun after nearly 7 years? Simon Bird - Well, yeah, but it's coming to an end, is the sad thing. Yeah, we did say it last time, but every time we've said we meant it, it wasn't like a line. We genuinely didn't realise the first film would be such a massive hit and we thought that fans of the show would see it, but not that it would be this kind of monster blockbuster success.
Joe Thomas -Even after that we were a bit reluctant to follow it up.
SB - We didn't want to ruin the first film's legacy, we only wanted to do it if we thought we could top it. We did this second one as a bonus, a thank you to the fans but we knew going into this it would be the end, because it's about characters who are at a certain age, and we can only do that for so long - I think it's come to its natural conclusion
Are you worried about being stereotyped in those kinds of roles? JT - The answer is yes, but the typecasting thing, what I think about it is is that it's about actors not wanting to be typecast. I don't have a problem playing to my strengths and I'd rather do something that audiences like and I'd rather be in things that are successful and I wouldn't take a role that was different just to prove a point. I like comedy and funny stuff. Sometimes, you're funny in a different way and it's hard to do that but I do hope I get some work...
You're being modest, as you've both had TV shows like Fresh Meat and Chickens as well... JT - Yeah, true. Fresh Meat was lovely to work on, it's about going where the good writing is. And Sam (Bain) and Jesse (Armstrong) are amazing. They had an incredible track record with Peep Show and I thought this can't be bad, that was brilliant. Chickens was an immensely pleasurable thing to make - it was a privilege to work with Simon and we had just great people. We had Ben Palmer from the Inbetweeners to work on that and that was great fun.
What did you enjoy most about the shoot - I've heard you mercilessly teased director Iain Morris? SB - Those were the best moments for us; the worst moments for him were the best moments for us. Definitely.
JT - We were incapable of taking the idea of them being directors seriously. Which is pathetic but they were basically like our playmates for the three series and the first film. They were on set constantly and they were there to make sure it was funny. I knew that I shouldn't have been finding it so funny that they were in charge, but I just couldn't help myself. We did used to take the mickey out of them a lot....
SB - It's important work and somebody had to do it.
JT - There was one day when Iain was really up against it to get a shot and we were doing a bit about trying to find a director who could get us out of this mess, asking the crew if anyone had got any mates in the industry. It ended up with us saying we were going to dig up a body from the graveyard and that could be the director... What was bad about that was that we were 2 feet away from Iain and he could hear this conversation, which must have been unbelievably aggravating as he was trying to have this serious discussion with the DoP. You are right - I am ashamed.
Did you always envisage the show would be this popular - three series and 2 movies.. SB - No, we didn't think it would get recommissioned. When we were making the first series, for a new channel in Britain, with writers who'd never written before and we'd never done any acting before so it was an experiment, but we thought that would be it. I had no concept of the show being as popular as it was and it's sort of grown at every stage. For us to be in New Zealand promoting the sequel to our number one movie is, erm, flabberghasting.
JT - When we did the first series, I thought my fellow actors were very funny but I thought there must be more to it than that and obviously, weirdly that seemed like reasons we may fail - we're not a professional outfit, we're just some people. We are friends, we do have a rapport that is similar to the characters. It's about how basically groups of lads are trying to get laughs off each other; there's something incredibly sweet about that but they need that recognition from the others that they are funny and it's also sweet they're constantly having the piss taken out by each other that they just accept it if it's funny. That's the nice element of male friendship, that's funny and people get over things. There's emotion there underneath but it's never acknowledged or brought out into the light.
There's a high level of humiliation and gross out this time around - particularly for your two characters - did you push for more or less during it? SB - The moments that are most embarrassing for a character are not necessarily that embarrassing for us to do; I think quite the opposite as we're always excited to read the scripts and see those moments because they're the ones that are memorable and people will find the most funny. It's better that we push for them, not just so we want gross out moments for gross out sake but because it's also a strength of Iain and Damon's. Only they could have pulled off having a poo going down the water slide moment in quite the way they did.
JT - My favourite bit of the film is where the poo flies in his face. There's a sort of Jaws moment; it's almost like a kind of drawing on a King Kong style moment where Will is like "I'm a human but you're running from me". The OST there I really like and I can see a poo going in your face in lots of films but it's the aftermath of Will being "Please" and seeing this lonely beast with a glint of humanity in his eyes - I can only see them doing that. That's a testament to them having an acute sense of what's funny. SB - There's a certain warmth and sweetness for the characters and a bleakness that's definitely there.
What's next professionally for you both?
JT - Don't know to be honest, I'm writing a couple of things and they're both at the fairly early stage but I'm hoping that they'll go somewhere. I'm not in a mad rush. I feel that this has been a really lucky thing to have been involved in and it's put me in a really good position but I want to keep working with good talented people and like Fresh Meat and follow really good writing and just try and surround myself with talent so I've got a chance of being in something good, but there's nothing yet - my next major project, I don't know is the truth.
SB - Ditto. None of us have got anything lined up but that's what's great about the Inbetweeners - this gives us a year to sit back and re-calibrate.
The Inbetweeners 2 hits New Zealand cinemas on August 28th.
2000th post - Take a look at Doctor Who: Deep Breath
For my 2000th post on this blog, I thought I'd give you an exclusive look at Doctor Who: Deep Breath the first episode of the TV series, bowing in the UK this weekend.
Starring Peter Capaldi as the Doctor and Jenna Coleman as Clara, there's plenty of expectation on this latest series, what with the introduction of a new Doctor.
So, here's a preview of Doctor Who: Deep Breath coming soon...
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