Snowfall, Richard Burton & Claire de Lune

A wee video I made today, accompanied by Richard Burton reading Coleridge's Frost at Midnight and a piano version of Claire de Lune.

Wolfblood: creator Debbie Moon drops Series 2 hints

UPDATE 28/08/2013: @bbcwritersroom just confirmed via Twitter that Series 2 of Wolfblood will launch on Monday September 9th on CBBC. 

Last autumn CBBC launched Wolfblood, a new adventure series created by Debbie Moon. She was kind enough to answer six questions from Vicious Imagery about the show just before it launched - read them here. Wolfblood was a big hit with viewers and last week won Best Children's Drama at the RTS Awards. With filming now underway on 13 new episodes, Vicious Imagery tempted Debbie away from writing the series two finale long enough to answer six more questions...

Maddy (Aimee Kelly) and Rhydian (Bobby Lockwood) - both are Wolfblood

Congratulations on Wolfblood winning a Royal Television Society award. Why do you think viewers have connected with the show so strongly?

For me, it was important that Wolfblood had something to say about the experience of being a teenager, and I think that's what viewers are reacting to. That sense of being unsure about who you really are, who you're growing up into, of trying to balance different elements of yourself, your society, your family and your friends… The Wolfblood element gives us a way to look at all those questions without being preachy and heavy-handed.

I've been surprised by how many adult, and older teen, viewers Wolfblood has. But then, I think we all remember what being a teenager was like, and how those experiences shaped our adult self. 

And of course, we try to deliver a lot of fun, adventure, and wish fulfilment in the show as well!

What did you learn about the world of Wolfblood from seeing the first series made and broadcast, and how is that influencing the second series?

Certainly I've learned a lot of practical stuff. Never put eight people in a corridor scene (you can't get the camera angles), the things that you think will be expensive are cheap and vice versa, and most of all, the weather doesn't read the shooting schedule!

On a more creative level, we're looking to give more screen time to the minor characters, whom the audience have responded really well to. And to play to the performers' strengths: a couple of the cast have turned out to have talents that we exploit in season two...

If you could go back and change anything about series one, what would it be [and any chance of a DVD release]?

More money, so we could do more wolf shots?  There are odd moments I might have written differently, but on the whole I'm really happy with the way the first series turned out.  

There will be a DVD release at some point, but it's taking a little longer to set up than we expected. Hopefully some time later this year...

Maddy's friends Tom (Kedar Williams-Stirling) and Shannon (Louisa Connolly-Burnham)

You don’t write every episode, so could you share the process of how the storylines for series two were devised and developed?

We basically got all the writers into a room for several days and broke down the entire series - what we wanted to do with the characters, where we wanted them to end up physically and emotionally, and what story lines and events would achieve that for us. So initially, it's very much a team effort, everyone throwing in ideas and suggestions. Then the writers take away the germ of their episodes and work on them from there. That allows them to put their individual voice into each episode, while honouring the overall feel and story arc of the series.

Can you offer any spoiler-free hints about what we can look forward to in the new series?

In no particular order: a scary new enemy, a surprising new arrival in Stoneybridge, a strange discovery from the distant past, and romantic developments for a couple of characters (and maybe not the ones you'd think!)

Beyond the world of Wolfblood, what else are you working on?

I've just finished a pilot episode for a supernatural drama that's being shopped around to producers at the moment, and I'm working on a couple of feature scripts, plus a hopefully final rewrite on a feature that may shoot next year, if we can get the funding...

Thanks again to Debbie to taking time to answer these questions. Bring on series two!

We need a Vastra, Jenny and Strax spin-off. Now.

"An unlikely policeman" - Endeavour Morse returns

Last year ITV broadcast Endeavour, a one-off drama to make the 25th anniversary of Inspector Morse's television debut. The script by Russell Lewis went back to the 1960s, showing us the Oxford detective's first murder investigation as a young copper, played by Shaun Evans. It could have been dire, but proved a critical and popular success.

UPDATE: Barrington Pheloung got in touch via Twitter [see above] to say the music used in the Endeavour promo above is not composed by him. Funnily enough, the music was the one element that I didn't like it! Morse and the music of Barrington Pheloung are pretty much inseparable, shame they didn't use one of his cues for the promo...

Endeavour: Shaun Evans [centre] stars as young Morse, photo: ITV

A commission for further episodes of Endeavour was inevitable, especially with Morse spin-off Lewis coming to an end. It remains to be seen if the first full-length series of Endeavour can sustain the high standards set by the unofficial pilot, but advance reviews are promising. We'll be able to see for ourselves with four new stories coming soon...

GeniusFail: How not to kill a snake

Proof that truth is stranger than fiction: in Texas, a woman set fire to a snake, hoping to kill it. Instead the burning snake slithered over to shrubs near the woman's home. The shrubs caught fire, setting the house on fire. The house burnt down, damaging a neighbour's house as well. There's a nursery rhyme in that story, I'm sure of it. See the original news story here.

How to write an "insert action sequence here" scene

A few months back I responded to a question on The Black Board, the online writing community of the Black List and Go Into The Story. Someone linked to it on Twitter today, so I guess this qualifies as useful advice. There's an outside chance I might be writing an action-heavy project soon, so this will serve as a useful reminder for me at least! Below is the original question and my answer. Onwards!


 If you’re writing something with clearly defined action sequences, at what point do you start pinning down the details of what actually happens in them? I tend to leave a gap marked “action sequence here”, but I’m finding that just encourages me to keep skipping over that section until I actually start the draft, and then I discover all kinds of problems I should have solved earlier. Anyone have any thoughts on this?
 
Long answer: I’ve written a lot of action-adventure comics, where the audience expects big action set pieces every few pages, so the methodology I stumbled across there is the basis for what I do in screenwriting. First step: identify where you need action scenes – I try to avoid them running back to back, that quickly becomes both breathless and repetitive. Next, what’s the plot point that needs to be advanced, and how does the scene or sequence affect the characters emotionally?

Most comics I write have a single protagonist, so my focus is on their emotional journey. They need to have something at stake, emotionally as well as in terms of their story arc. Can they infiltrate the enemy’s HQ and extract the MacGuffin? What happens when their plan goes awry, etc. Nailing down the stakes helps me judge how long a sequence should last.

Then there’s the choreography of the action scene itself – how characters and objects move in time and space during it. I direct amateur dramatics and even musicals sometimes. While I leave the choreography of dance sequences to people with expertise, there are similarities between dance and action sequences [or they can be both at the same time, as in West Side Story].

I remember a podcast interview with John Logan, talking about how the killings in Tim Burton’s version of Sweeney Todd were the film’s dance sequences. There’s a lot of people getting their throats cut, so the filmmakers were conscious of the need to make each killing different. They did that by focusing on stakes – plot and emotion – but also by choreographing sequences with movement and visuals.

Which leads on to visuals. Is there an overall visual aesthetic for the project? Should each action sequence adhere to that, or should they have individual looks? How can they be made individually unique yet still be part of a greater, unifying narrative visually?

For example, you might have three sequences of characters running/being chased through the woods – how to differentiate these? Night or day? Fast or slow? Unseen pursuer or both apparent? What’s the tone of each sequence? If they’re all similar, do you need all the scenes?

The Bourne films and first Transporter movie are great at making each action sequence visually distinct [check out the fight sequence below where Statham covers himself in oil to fight off a bunch of guys, and compare it to all those car chases in the same film - very different!].

Short answer: have “action sequence here” in initial synopsis. Flesh out stakes, identify visual choreography in treatment. Nail down locations, pacing in step outline. Write and polish while scripting.

Shock revelation: Death Star bombing 'inside job'

Brilliant conspiracy mockumentary revealing the shocking truth about the terrorist attack that destroying the Empire's best hope for bringing peace to the galaxy. What's the likelihood that an untrained farm boy could pull off such an audacious feat without help? Was what happened to the so-called 'Death Star' really an inside job? You be the judge...

Kiwi music: "Ikarus" by Ladi6

What really happened to all those Disney Princesses

Via @HuffPostComedy et al.

Veronica Mars: The Movie - Kickstarter campaign

A few hours ago writer-director Rob Thomas launched a Kickstarter campaign for a feature film based on the much-loved US TV series Veronica Mars. The target? $2,000,000 - in 30 days. How much had it raised by 5pm GMT? Half a million dollars.

Been professing my love for this show for years, and was gutted when it got cancelled after a truncated third series. So the wildfire response to the Kickstarter campaign is all good news. Looks like we might be seeing Veronica on film in 2014. Result!

Genius: Stanley Kubrick - an animated filmography

Lovely animation, and considerably shorter than anything SK did. Via @AdamRutherford

Trying to capture the spirit of Boston in snapshots

Final set of Boston photos - these are more about visual impact, contrast, etc.

Spied along Newbury Street in Boston [and nearby]

Here's a few things I spotted while wandering Newbury Street in Boston. A couple of exceptions - an ominous sign outside the library, and shoes inside Newbury Comics.

 

Boston street scenes snapped while at AWP 2013

Just back from six days at a creative writing conference in Boston, which seemed to experience every possible kind of weather: glorious sunshine, biting wind, blue skies, bitter cold, spring warmth - and 13 inches of snow in a day. Here's some street scenes...

 

Films of Michael Caine: 2000-2003

Iconic British film actor Michael Caine will be celebrating his 80th birthday this month. To mark the occasion, I'm publishing decade by decade links to my comprehensive analysis for 80 of his movies from Zulu [1964] through to The Actors [2003] - today it's the final few entries. Plus there's a bonus, partial listing for Secondhand Lions [2003], a underrated gem of a movie.

These entries are all lifted from my 2003 book Starring Michael Caine, so apologies in advance for any inaccuracies. Alas, the book didn't sell so I haven't continued with this project. A shame as Caine's featured in some great films since 2003. Anyway, here are the last links...

Shiner [2000]
Quills [2000]
Get Carter [2000]
Miss Congeniality [2000]
Last Orders [2001]
Austin Powers in Goldmember [2002]
The Quiet American [2002]
Quicksand [2002]
The Actors [2003]
Secondhand Lions [2003]

Films of Michael Caine: The 1990s

Iconic British film actor Michael Caine will be celebrating his 80th birthday this month. To mark the occasion, I'm publishing decade by decade links to my comprehensive analysis for 80 of his movies from Zulu [1964] through to The Actors [2003] - today it's the 1990s. [All of these are lifted from my 2003 book Starring Michael Caine, so apologies in advance for any inaccuracies.]

A Shock to the System [1990]
Mr Destiny [1990]
Bullseye! [1990]
Noises Off [1992]
Blue Ice [1992]
The Muppet Christmas Carol [1992]
On Deadly Ground [1994]
Bullet to Beijing [1994]
Midnight in St Petersberg [1994]
Blood and Wine [1997]
Shadow Run [1998]
Little Voice [1998]
Curtain Call [1998]
The Debtors [1999]
The Cider House Rules [1999]

Genius: Breaking the 4th wall supercut [NSFW]

Via @emmafgreen.

Via @

Films of Michael Caine: The 1980s

Iconic British film actor Michael Caine will be celebrating his 80th birthday this month. To mark the occasion, I'm publishing decade by decade links to my comprehensive analysis for 80 of his movies from Zulu [1964] through to The Actors [2003] - today it's the 1980s. [All of these are lifted from my 2003 book Starring Michael Caine, so apologies in advance for any inaccuracies.]

The Island [1980]
Dressed to Kill [1980]
The Hand [1981]
Escape to Victory [1981]
Deathtrap [1982]
Educating Rita [1983]
The Honorary Consul [1983]
Blame It on Rio [1984]
The Jigsaw Man [1984]
Water [1985]
The Holcroft Covenant [1985]
Hannah and Her Sisters [1986]
Mona Lisa [1986]
Sweet Liberty [1986]
Half Moon Street [1986]
The Fourth Protocol [1987]
The Whistle Blower [1987]
Jaws the Revenge [1987]
Surrender [1987]
Without a Clue [1988]
Dirty Rotten Scoundrels [1988]

Films of Michael Caine: The 1970s

Iconic British film actor Michael Caine will be celebrating his 80th birthday this month. To mark the occasion, I'm publishing decade by decade links to my comprehensive analysis for 80 of his movies from Zulu [1964] through to The Actors [2003] - today it's the 1970s. [All of these are lifted from my 2003 book Starring Michael Caine, so apologies in advance for any inaccuracies.]

Too Late the Hero [1970]
The Last Valley [1970]
Get Carter [1971]
Kidnapped [1972]
Zee & Co [1972]
Pulp [1972]
Sleuth [1972]
The Black Windmill [1974]
The Marseille Contract [1974]
The Wilby Conspiracy [1975]
The Romantic Englishwoman [1975]
Peeper [1975]
The Man Who Would Be King [1975]
Harry and Walter Go to New York [1976]
The Eagle Has Landed [1976]
A Bridge Too Far [1977]
Silver Bears [1977]
The Swarm [1978]
California Suite [1978]
Ashanti [1979]
Beyond the Poseidon Adventures [1979]

Films of Michael Caine: The 1960s

Iconic British film actor Michael Caine will be celebrating his 80th birthday this month. To mark the occasion, I'm publishing decade by decade links to my comprehensive analysis for 80 of his movies from Zulu [1964] through to The Actors [2003] - today it's the 1960s. [All of these are lifted from my 2003 book Starring Michael Caine, so apologies in advance for any inaccuracies.]

Zulu [1964]
The Ipcress File [1965]
Alfie [1966]
The Wrong Box [1966]
Gambit [1966]
Funeral in Berlin [1966]
Hurry Sundown [1967]
Woman Times Seven [1967]
Billion Dollar Brain [1967]
Deadfall [1968]
The Magus [1968]
Play Dirty [1968]
The Italian Job [1969]
Battle of Britain [1969]

Films of Michael Caine: The Quiet American

Cast: Michael Caine (Thomas Fowler), Brendan Fraser (Alden Pyle), Do Thi Hai Yen (Phuong), Rade Serbedzija (Inspector Vigot), Tzi Ma (Hinh), Robert Stanton (Joe Tunney), Holmes Osborne (Bill Granger), Quang Hai (General Thé), Ferdinand Hoang (Mr Muoi), Pham Thi Mai Hoa (Phuong’s Sister), Mathias Mlekuz (French Captain).
Crew: Phillip Noyce (director), Staffan Ahrenberg and William Horberg (producers), Christopher Hampton and Robert Schenkkan (writers), Craig Armstrong (music), Christopher Doyle, Huu Tuan Nguyen and Dat Quang (cinematography), John Scott (editor), Roger Ford (production designer).

Synopsis: Thomas Fowler is a British journalist for The Times newspaper based in Saigon, Vietnam, during the early 1950s. The French Army was fighting a war against Communists. Fowler has a young Vietnamese mistress, Phuong. The reporter meets Alden Pyle, an American who says he is part of the medical team with an economic aid mission in Vietnam. The Times summons Fowler back to its London office, but the correspondent asks for more time, claiming he is working on a big story. Pyle meets Phuong and falls in love with her. Fowler goes into the country and visits a town where the people have been massacred. Pyle turns up, claiming to be on a medical mission. He believes a third force must take over Vietnam from the French, to save the country from Communism. A new political party emerges, led by the self-appointed General Thé. Fowler writes to his Catholic wife in England, asking for a divorce. The reporter tries to interview Thé, asking if the general’s men had any involvement with the massacre. Pyle is at the general’s camp and protects the journalist.

Fowler’s wife writes back, refusing a divorce. He lies to Phuong about the letter but she discovers the truth and leaves him for Pyle. A terrorist bombing in central Saigon kills dozens of civilians, including women and children. Fowler sees Pyle in the aftermath, speaking fluent Vietnamese. The correspondent realises Pyle works for the CIA. Fowler confronts the American about his part in the bombing, but Pyle is unrepentant. He admits arming Thé but says such massacres will guarantee more American funding and ultimately save lives. Fowler realises Pyle is behind both atrocities. The reporter betrays Pyle to the Communists, who murder the American. Fowler persuades Phuong to resume being his mistress. Fowler stays on as The Times’ correspondent as events escalate into the Vietnam War…

+++++++++++++++++++++++++

Graham Greene’s novel The Quiet American was first published in 1955, inspired by his time spent as a newspaper correspondent in Vietnam. Director Joseph L Mankiewicz shot the first adaptation of the book in 1958, with Michael Redgrave and Audie Murphy. Greene was infuriated by the film, which downplayed the book’s anti-CIA stance. He wrote a vitriolic article accusing Mankiewicz of using the movie as a weapon to murder an author.

Four decades later Australian director Phillip Noyce finally got the go-ahead for a new version of The Quiet American, after five years’ preparation. Christopher Hampton and Robert Schenkkan wrote the adaptation, Hampton having previously scripted another Greene adaptation, The Honorary Consul (1983). The crucial part of British journalist Thomas Fowler went to Caine, on a roll following his Oscar win as best supporting actor for The Cider House Rules (1999). ‘When they offered the part to me,’ the actor told the Australian edition of Empire, ‘I thought it was Christmas. How many roles are there for men of my age with that emotional range?’

Caine finished filming Quicksand (2002) early in 2001 and began preparing for his new role. The actor would turn 68 during the production but was going to be playing a 55-year-old. ‘I lost 25 pounds, dyed my hair and had four pounds of make-up on,’ he told The Age newspaper in 2003, ‘and I tried to suck my stomach in on the wide shots.’ The actor removed carbohydrates from his diet and walked five miles a day to shed the weight.

Caine partly based his performance on Greene. ‘I didn’t know him very well,’ he told a BBC cinema website, ‘but I knew a great deal about him. One of my best friends is Bryan Forbes, who was one of Graham’s best friends. So I knew a lot by proxy. I just copied something of the way he [Green] spoke, and his movements. They were very small.’ The actor also spent time with a journalist in Vietnam, observing what the reporter did and was advised on how to play an opium user by an addict.

Production of the $30 million picture began in Vietnam during February 2001 and continued for three months. Location shooting took place at Ho Chi Minh City, the ancient port town of Hoi An, in the northern province Ninh Binh and at the capital Hanoi. Studio work was lensed in Sydney, Australia. Caine told the Hollywood Reporter he was surprised at how welcoming the people of Vietnam had been and how beautiful the country was. ‘I expected to see a war-torn land, and I saw no sign of war at all. It was fabulous for me … to be in actual places where he [Greene] was. People pointed at windows saying, “That window in the Continental Hotel, that’s the room where he wrote The Quiet American.” This part was the maximum degree of difficulty because it’s so subtle; I put my heat and soul into it. At the end of that picture, when we got back to England, I sat in the armchair looking at my wife, and I said, “I’ve got nothing left here.”

The film got its first screening as a rough-cut in New York on September 10, 2001. The next day terrorists attacked America, flying two jumbo jets into the twin towers of World Trade Centre in New York and killing thousands of people. Another plane was crashed into the Pentagon at Washington, DC. Overnight a film with award-winning potential turned into the movie nobody wanted. American and British distribution rights had been acquired by Miramax for $5.5 million. Co-chairman Harvey Weinstein later told the New York Times what happened next: ‘I showed the film to some people and staff, and they said, “Are you out of your mind? You can’t release this now, it’s unpatriotic.”’

Miramax considered dumping the movie and began shopping it around to other distributors. Meanwhile Noyce continued working on the film’s post-production, with computer generated imagery used to make modern Vietnamese cities resemble their 1950s counterparts. Weinstein reportedly ordered the toning down of a scene in which a character accused America of adventurism. The final cut of The Quiet American was delivered to Miramax in May 2002.

Word leaked out that the distributors planned to release the film in January 2003, too late for Oscar consideration and a month when lesser movies are dumped in cinemas. Caine lobbied Weinstein for the film’s release to be brought forward. He even threatened to do no promotional work for his starring role in another movie to which Miramax held US distribution rights, The Actors (2003). Caine’s cause was supported by Noyce, Australian actress Nicole Kidman and two Oscar-winning executive producers attached to The Quiet American, Anthony Minghella and Sydney Pollack. But Weinstein was still reluctant to distribute a film critical of American intervention in foreign countries, especially with the US Government preparing to go to war with Iraq.

Miramax eventually relented and agreed to give the picture its world premiere at the Toronto Film Festival in September 2002. Caine told the American Press Association (AP) he gave Weinstein a promise: ‘If it doesn’t go well in Toronto, I’ll bring a shovel and help you bury it.’ Noyce used guerrilla tactics to create a buzz for The Quiet American before the festival, organising special screenings for key American film critics. The Toronto screening got a standing ovation and raves in US media, with several reviewers calling Caine’s performance a certainty for Oscar nomination. Miramax gave the picture a two-week run in a handful of US cinemas so it qualified for consideration at the Oscars.

Caine campaigned relentlessly on behalf of the film, earning himself nominations for best actor at the Golden Globes (losing to Jack Nicholson in About Schmidt), the BAFTAs and the Oscars (losing both to Adrien Brody in The Pianist). Caine won awards from film critics in London and San Francisco. ‘This has made my day,’ Caine told AP after hearing of his Oscar nomination. ‘I am absolutely delighted, I couldn’t be happier. It’s been a long, long journey. I just wanted to see whether I could get a nomination. And I’ve got one, I’m happy now and my work is done.’

The Quiet American reached Britain in November 2002. The 15-rated film got strong reviews, especially for Caine’s performance, and grossed nearly $3 million. In America the R-rated picture went into wider release after the Oscar nominations were announced in February 2003. It had grossed more than $12 million when this book went to press. Globally the picture had taken more than $22 million. A DVD and video release was expected in the UK and US before the end of 2003.

Caine told many interviewers he considered his performance in The Quiet American as the best of his long career. ‘There are moments in everyone’s life when everything comes together,’ he told the Dallas Fort Worth Star Telegram in 2003. ‘That’s what happened here. I was experienced enough an actor. I was experienced enough a man. I wanted to do something that I could really disappear into the character … rather than have a little of Michael Caine in there, like a movie star thing. I believe in this movie probably more than any other movie I’ve ever done.’

Reviews: ‘This may in fact be the best performance of Michael Caine’s career.’ – Roger Ebert, Chicago Sun-Times
‘A career-capping performance by Michael Caine. One of the year’s most thoughtful films.’ – Time

Verdict: Does The Quiet American live up to all the hype? Surprisingly, yes – but don’t expect a sweeping epic or some grand blockbuster. Noyce’s film is subtle and intelligent, holding back from the sort of bombast that normally wins awards and critical kudos. The picture submerges you in the atmosphere of 1950s Vietnam, all too aware of the cost of imperialist attitudes. The global crisis that threatened to sink this picture also made its subject matter more relevant. It remains to be seen whether this version of The Quiet American will retain its power once the current political climate has changed. But time will not diminish Caine’s performance in this film, arguable the finest of his career. It’s a masterclass of nuance and restraint, many emotions played out just in his eyes. Even in a poor film, the performance would be worth watching. In this context it’s essential viewing.

Films of Michael Caine: Austin Powers in Goldmember

Cast: Mike Myers (Austin Powers, Dr Evil, Fat Bastard, Goldmember), Beyoncé Knowles (Foxxy Cleopatra), Seth Green (Scott Evil), Michael York (Basil Exposition), Robert Wagner (Number Two), Mindy Sterling (Frau Farbissina), Verne Troyer (Mini-Me), Michael Caine (Nigel Powers), Fred Savage (Number Three), Diane Mizota (Fook Mi), Carrie Ann Inaba (Fook Yu), Nobu Matsuhisa (Mr Roboto).
Crew: Jay Roach (director), John S Lyons, Mike Myers, Eric McLeod, Demi Moore, Jennifer Todd and Suzanne Todd (producers), Mike Myers and Michael McCullers (writers), George S Clinton (music), Peter Deming (cinematography), Jon Poll and Greg Hayden (editors), Rusty Smith (production designer).

Synopsis: Britain secret agent Austin Powers captures his arch-enemy, Dr Evil, who is sentenced to 400 years in prison. Austin gets knighted but his father, super-spy Nigel Powers, misses the ceremony. Soon afterwards Nigel is kidnapped by a Dutch madman called Goldmember and taken to the year 1975. Austin time-travels to 1975 where he teams up with US agent Foxxy Cleopatra. But Goldmember flees to 2002, taking Nigel with him. Dr Evil escapes prison and shifts operations to a submarine off the coast of Japan. Goldmember and Dr Evil join forces, hatching a plan to flood the world unless an enormous ransom is paid. Austin and Foxxy rescue Nigel but Goldmember and Dr Evil escape. Austin and Foxxy infiltrate Dr Evil’s sub. Just as Austin is about to shoot his nemesis, Nigel walks in and reveals that Dr Evil and Austin are brothers. Dr Evil joins the good guys and helps them thwart Goldmember. Dr Evil’s own son Scott runs off, vowing revenge.

++++++++++++++++++++++++++

Austin Powers: International Man of Mystery was a minor hit in 1997, before developing a cult following on video. Two years later a sequel, Austin Powers: The Spy Who Shagged Me, was a box office smash, grossing more than $200 million in the US. Another sequel was inevitable and work began on the script in March 2001.

Mike Myers wrote a long letter to Caine, asking him to play England’s most famous spy, Nigel Powers. The creation of Austin Powers had been much inspired by Caine films from the 1960s. ‘The very first time I saw Austin Powers,’ Caine told interviewers, ‘I realised Mike had based it on a character I played many years ago. The 1960s, the glasses, and the accent – I knew it was me. Not only was I ideal to play it, I felt I was the only person who could play it.’ The actor accepted the role, having taken several months off after filming his exhausting role in The Quiet American (2002).
Production began in November 2001 and was shot predominantly on studio lots. Advance promotional material announced the film’s title, but this was withdrawn in January 2002 following court action by the owners of another spy character, James Bond. It was alleged that Goldmember was trading on the Bond franchise without permission. The film was temporarily renamed Austin Powers III but the original title was eventually reinstated.

The main cast were encouraged to ad lib during filming, creating considerably more material than required. Director Jay Roach’s first cut lasted three hours – double the length of the final picture. A brief excerpt of Caine from the film Hurry Sundown (1967) appears in the film during a flashback. On the Austin Powers in Goldmember DVD commentary track Roach says the hardest cut was removing a sequence where the main characters sing along with a version of the theme song to Caine’s 1966 film Alfie. ‘We were all sure it was going to be one of the highpoints … the audience just felt it slowed the movie down. We tried it in two previews and the movie took a big dip in momentum. It was brutal to cut something like that.’ The sequence is among more than 20 minutes of deleted scenes and outtakes on the DVD release.

Austin Powers in Goldmember was simultaneously released in the US (rated PG-13) and the UK (PG) on July 26, 2002 – four days after its premiere. The film proved even more successful than its predecessor, grossing $213 million in the US and another $36 million in Britain. Dripping with cameos by famous faces, it featured at least half a dozen Oscar winners amongst the cast. Among those making fleeting appearances was musician Quincy Jones, who provided the music for The Italian Job (1969). The picture was released on VHS and DVD at the end of 2002.

Reviews: ‘It’s strictly more of the same from the groovidelic shagmeister … usually fun even if it’s not terribly funny. Caine as Dad was an inspired casting idea...’ - Variety
‘Extravagant, uneven, retro-happy celebration of the movies as international setters of indelible style… The movie is remarkably spry and inspired...’ – Entertainment Weekly

Verdict: This is a broad comedy stuffed full of slapstick, in-jokes and hilarious homages. The opening superstar cameo sequence is the highpoint of the film, but Austin Powers in Goldmember doesn’t outstay its welcome. Director Roach keeps the pace moving while the script by Myers and McCullers is laden with juvenile japes. But this movie is not just fart jokes and scatological humour. It also features a density of media cross-references matched only in better episodes of TV sitcom The Simpsons. Caine steals his scenes as the oldest swinger in town, performing a parody of a parody of himself. In the midst of all this, the film examines father and son relationships with surprising, heartfelt care. If you enjoyed the two previous movies in the franchise, you should love this dumb fun.

Films of Michael Caine: Last Orders

Cast: Michael Caine (Jack), Tom Courtenay (Vic), David Hemmings (Lenny), Bob Hoskins (Ray), Helen Mirren (Amy), Ray Winstone (Vince), J J Field (Young Jack), Cameron Fitch (Young Vic), Nolan Hemmings (Young Lenny), Anatol Yusef (Young Ray), Kelly Reilly (Young Amy), Stephen McCole (Young Vince), George Innes (Bernie).
Crew: Fred Schepisi (director), Elisabeth Robinson (producer), Fred Schepisi (writer), Paul Grabowsky (music), Brian Tufano (cinematography), Kate Williams (editor), Tim Harvey (production designer).

Synopsis: Three old friends meet in a South Londoner pub to remember their late friend Jack. The dead man’s son, Vince, drives the trio to Margate Pier so they can scatter Jack’s ashes. Meanwhile Jack’s widow Amy visits her retarded daughter June for the last time. During the day each person remembers incidents from their past, hidden truths and personal revelations about how they have shaped each other’s lives…

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Graham Swift’s novel Last Orders was first published in 1996 and won the prestigious Booker Prize that year, arguably the highest honour in British fiction. Soon after film producer Elisabeth Robinson showed the book to Australian writer/director Fred Schepisi. The pair persuaded Swift to let them adapt it into a film. Schepisi began writing the screenplay with Swift providing critiques on each successive draft. The project got commitments from actors Caine, Tom Courtenay, Bob Hoskins and Ray Winstone, but it took another two years to raise sufficient finance to begin shooting.

In his DVD commentary, Schepisi remembers offering the key part of Jack to Caine: ‘He said “Oh damn, okay. Yes, I’ve got to do this. I knew I’d be playing my father one day.”’ Caine found himself acting the role of a man dying of cancer at St Thomas’s Hospital – just as his own father had done. There was another strong resonance for the actor. In the film Jack’s wife Amy visits her retarded daughter at a care home once a week for 50 years. Caine’s own mother had given birth to an illegitimate son in the 1920s who suffered from epilepsy. At the time the illness was treated as a form of insanity and the boy spent half a century in an asylum, secretly visited by his mother every week. Caine only learned about his half-brother after their mother had died. ‘It was a very personal reason for him doing this film,’ Schepisi says in the commentary.

The $12 million production was shot over nine weeks from October to December 2000, during the wettest autumn for nearly 250 years. (A pre-shoot had already taken place during summer in Kent for a sequence showing hop-picking.) Filming took place at locations around London and Kent, with studio work at Pinewood and in an unused warehouse in Peckham. Caine was only required for three weeks of the shoot, before flying to the South of France to join the cast of Quicksand (2002). Last Orders reunited him and old friend Bob Hoskins, with whom he had appeared in The Honorary Consul (1983), Sweet Liberty, Mona Lisa (both 1986) and Blue Ice (1992).

In 2002 Caine told the Hollywood Reporter he did low budget projects like Schepisi’s film when he liked them. ‘I was in Last Orders with all my friends. I was only on the picture for 10 days, but I do that – it’s not like the big movie star who doesn’t come out unless it’s a full budget and everything. Apart from being with my friends, a very good script and very good director, there was that thing of getting a British movie off the ground.’

The film received its world premiere at the Toronto Film Festival in September 2001, with a screening at the London Film Festival two months later. Last Orders opened in American cinemas during December 2001, rated R. Many critics gave it strong notices and the picture grossed nearly $2.5 million from a limited release. The cast won the US National Board of Review’s award for best ensemble performance. Last Orders was released to British cinemas in January 2002 with a 15 rating, gathering glowing reviews from critics and grossing $1.3 million. The film was a bigger hit in Australia, taking more than $1.7 million at the box office. Last Orders was issued on DVD and VHS in 2002.

Reviews: ‘Ambitious in structure and casting, it packs a lot into its screen time. Quality craftsmanship for a discerning crowd.’ – Empire
‘Schepisi’s intelligent and thoughtful adaptation ensures that the film works smoothly through a complex series of time shifts, and, though there’s plenty of humour, the film succeeds best on an emotional level.’ – Variety

Verdict: If you want action, adventure and high octane thrills, go elsewhere. If you want a moving, funny and emotionally satisfying film about life, love and friendship, then Last Orders is the picture for you. Schepisi succeeds in adapting a heartfelt, literary novel into a small gem of a movie, his script and direction effortlessly guiding you through a complex interweaving of narratives and flashbacks. Paul Grabowsky contributes a haunting, jazz-tinged score that never overwhelms or overstates, just like the rest of this classy feature. The cast is uniformly excellent, with Caine in fine form as a man facing his own mortality. If you can watch this film without shedding a tear, you must have a heart of stone. Never crass or sentimental, Last Orders is emotionally draining and life affirming at the same time.

Films of Michael Caine: Miss Congeniality

Cast: Sandra Bullock (Gracie Hart), Michael Caine (Victor Melling), Benjamin Bratt (Eric Matthews), Candice Bergen (Kathy Morningside), William Shatner (Stan Fields), Ernie Hudson (McDonald), John DiResta (Agent Clonsky), Heather Burns (Cheryl “Rhode Island”), Melissa De Sousa (Karen “New York”), Steve Monroe (Frank Tobin), Deirdre Quinn (Mary Jo “Texas”), Wendy Raquel Robinson (Leslie “California”).
Crew: Donald Petrie (director), Sandra Bullock (producer), Marc Lawrence and Katie Ford and Caryn Lucas (writers), Ed Shearmur (music), Laszlo Kovacs (cinematography), Billy Weber (editor), Peter Larkin (production designer).

Synopsis: Gracie Hart is a mannish agent for the FBI. The FBI receives a letter from the Citizen, a domestic terrorist, who threatens to attack the Miss United States beauty pageant in Texas. Gracie is chosen to go undercover as a contestant. The FBI employs a pageant consultant called Victor Melling to make Gracie a credible candidate. She gets a makeover and emerges as a beautiful woman, to the surprise of her boss Eric Matthews. Forensic tests suggest the threatening letter was sent by a woman. Gracie believes the pageant organiser, Kathy Morningside, is involved. But the FBI arrests the real terrorist in Nevada and close down the operation in Texas. Gracie decides to stay at the pageant, believing Kathy is planning a copycat bombing. Gracie realises the bomb is hidden in the winner’s tiara. She throws the tiara into the air just as Kathy detonates the bomb. Afterwards the other contestants give Gracie the title of Miss Congeniality…

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This screwball comedy was created in 1999 as a vehicle for producer/actress Sandra Bullock. Donald Petrie was brought on board as director, having previous helmed hits like Mystic Pizza (1988) and Grumpy Old Men (1993). Caine was hired to play gay beauty pageant consultant Victor Melling soon after receiving his Oscar nomination as best supporting actor for The Cider House Rules (1999). ‘I couldn’t refuse working with Sandra Bullock,’ he told Variety.

In the film’s press book Caine discussed why he accepted the part: ‘What I liked about the role was that it was funny, it was different and it was a comedy. In my most recent films, I played the man who destroyed the Marquis de Sade, an abortionist and a very violent gangster. After reading the script and finding it such a great comedy, it was such a relief. I said, “I’ll do it. I’ll do it. I’ll do it.” I was just dying to get a laugh on set.’

He started work on the $45 million movie in May 2000, soon after finishing his performance as the lead in Shiner (2000). The bulk of Miss Congeniality was shot in Austin, Texas, with brief location work in San Antonio and New York. Caine studied with a Texan pageant expert for his role as Victor and also sought tips from wife Shakira, who came third in the 1967 Miss World contest. The picture reunited Caine with Candice Bergen, with whom he had co-starred more than thirty years earlier in The Magus (1968). The actor predicted significant success for Miss Congeniality. ‘It’s very funny. I think it will be a great vehicle for Sandra,’ he told Variety just before the picture opened.

The film was released across America in December 2000, rated PG-13. Reviews were mixed but Miss Congeniality became a Christmas hit at the box office, grossing more than $105 million – the biggest hit of Caine’s career at that time. This success was echoed around the world. In Britain the 12-rated movie opened in March 2001 and grossed more than $15 million. It was released on video and DVD later in the year. The DVD includes two commentary tracks, deleted scenes and documentaries. In 2002 some entertainment media reported work had already begun on a sequel in which Bullock’s character would use her new-found beauty queen skills to become a model and hunt for a serial killer. Producers were reported to be hopeful of persuading Caine to reprise his role.

Reviews: ‘Miss Congeniality is yet another miscalculated vehicle for the ever-feisty Sandra Bullock … Caine has a fine time as the makeover master even if he’s vastly overqualified for the modest assignment.’ – Variety
‘Gossamer-thin entertainment of the sort that would make for an inoffensive first-date movie. There is a complete inconsequential feel to the whole exercise.’ – Empire

Verdict: Miss Congeniality is a lightweight film that amuses you while its happening, but doesn’t stand up to any scrutiny. The movie wants to have its cake and eat it, scoring laughs from the baroque excesses of beauty pageants while still holding up the contestants as admirable for using their good looks to get ahead. The anorexic plot is just a vehicle for Bullock to exhibit her not inconsiderable comedic skills. Still, everyone hits their marks nicely, with Caine offering a delicate, understated performance as a disappointed gay man. Miss Congeniality is disposable fun – nothing more, nothing less.

Films of Michael Caine: Noises Off

Cast: Carol Burnett (Dotty Otley and Mrs Clackett), Michael Caine (Lloyd Fellowes), Denholm Elliott (Selsdon Mowbray and The Burglar), Julie Hagerty (Poppy Taylor), Marilu Henner (Belinda Blair and Flavia Brent), Mark Linn-Baker (Timm Allgood), Christopher Reeve (Frederick Dallas and Philip Brent), John Ritter (Garry Lejeune and Roger Tramplemain), Nicollette Sheridan (Brooke Ashton and Vicki).

Crew: Peter Bogdanovich (director), Frank Marshall (producer), Marty Kaplan (writer), Tim Suhrstedt (cinematography), Lisa Day (editor), Norman Newberry (production designer).

Synopsis: British sex farce Nothing On is having its opening night on Broadway in New York. Director Lloyd Fellowes flees the theatre, convinced the show will be a disaster. He remembers all the problems that plagued the show during six months on tour – from the dress rehearsal in Iowa, to a disastrous matinee in Miami and the final horror of a crazed performance in Cleveland. The cast is filled with temperamental actors who hate themselves, each other and have endless romantic intrigues. To Lloyd’s amazement, the show is a hit…

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Michael Frayn’s stage farce Noises Off had been a smash hit, running for five years in London’s West End and almost as long on Broadway. The film rights were acquired by Steven Spielberg’s Amblin Entertainment, but the stage-bound story defied an easy conversion to celluloid. Director Peter Bogdanovich was been double Oscar-nominated for his work on The Last Picture Show (1971), but had grown up in the theatre. He persuaded producer Frank Marshall to let him make a movie version of Noises Off. ‘Nobody could figure out how to do it as a movie,’ Marshall said in an interview with the Sunday Times in 1992, ‘but Peter thought he knew how.’

‘With a play everybody usually starts to discuss how to change things, but I wanted to do the opposite,’ Bogdanovich told the Sunday Times, ‘to preserve as much as possible, especially everything that had worked in the theatre.’ He discovered extra sequences had been added to Frayn’s original script over the years. Bogdanovich hired the London show’s assistant director to help select the best version of the play.

The film’s director and producer hand-picked the main cast, with Caine chosen as long-suffering stage director Lloyd Fellowes. ‘Michael Caine was very much who we wanted for that part,’ Bogdanovich said. ‘I’ve always wanted to work with Michael, and now that I have, I want to work with him again! He told me he didn’t think he’d ever had so much dialogue in a picture in his life.’ Normally a film equates to one minute of screen time for each page of script. The director wanted Noises Off to maintain its pace and shot 225 pages of script at a rate of only 25 seconds per page.

Bogdanovich rehearsed the cast for five weeks before shooting began, a rare luxury for any film. The picture was made predominantly on sets at Universal Studios in Los Angeles during 1991. The production reunited Caine with two old friends – Christopher Reeve, his co-star from Deathtrap (1982), and British actor Denholm Elliott. Caine and Elliott had shared memorable scenes in Alfie (1966) and both starred in the gritty war drama Too Late the Hero (1970).

Noises Off was released in America as a PG-13 in March 1992. Despite strong reviews, the movie took less than $2.5 million at the box office, opening against the smash hit erotic thriller Basic Instinct (1992). It reached British cinemas three months later, with a 12 rating, but grossed just over $150,000. The movie was rush-released on video in November 1992 and deleted six months later. Noises Off was released on DVD in 2004.

In his autobiography Caine describes the film as an honourable failure: ‘The play was brilliant and we kept very close to it, and the actors could not have been better … all the ingredients for a wonderful film. The people who saw it loved it, but we could not get the general public into the cinemas.’

Reviews: ‘Noises Off is not so much a bad film as one which should probably never have been made at all … it simply doesn’t feel like cinema.’ – The Guardian
‘If ever a play was designed not to be filmed, that play is Noises Off … it positively reeks of greasepaint.’ – Sunday Express

Verdict: This version of Noises Off is often hysterically funny, but only despite the best efforts of the filmmakers, rather than because of them. Frayn’s source material is so strong the farce shines through all attempts by Bogdanovich to put his own stamp on it. The film’s pointless framing sequence and feeble happy ending dull the play’s lustre and hold back the laughs for too long. At least the director has the good sense not to tamper with ninety per cent of the original and that’s enough to keep the laughs coming thick and fast. Caine shows his usual gift for comedy. Frankly, Bogdanovich would have been better off just filming a performance of the play.

Films of Michael Caine: Blue Ice

Cast: Michael Caine (Harry Anders), Sean Young (Stacy Mansdorf), Ian Holm (Sir Hector), Bobby Short (Buddy), Alun Armstrong (Osgood), Sam Kelly (George), Jack Shepherd (Stevens), Philip Davis (Westy), Bob Hoskins (Sam Garcia).

Crew: Russell Mulcahy (director), Martin Bregman and Michael Caine (producers), Ron Hutchinson (writer), Michael Kamen (music), Denis Crossan (cinematography), Seth Flaum (editor), Grant Hicks (production designer).

Synopsis: Harry Anders is a former spy who runs a jazz club. He meets an American woman, Stacy Mansdorf. They become friends and then lovers. Harry discovers Stacy is married to the American ambassador. She asks Anders to find her ex-lover, Kyle. Harry enlists the aid of Osgood, a detective at New Scotland Yard. They trace Kyle to a seedy hotel near London Bridge. But Kyle gets murdered and the killer also slays Osgood. Next morning Kyle’s body is removed from the morgue by American soldiers. Anders is approached by his former boss, Sir Hector, who warns him to be careful. Stacy reveals Kyle worked for US military intelligence, tracing illegal weapons shipments from the docks of London. Harry arrives as the latest shipment is being loaded. Sir Hector is the mastermind. Harry kills his old boss in a shootout. Stacy returns to America with her husband…

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In 1992 Michael Caine and American film producer Martin Bregman formed M & M Productions, a company dedicated to making mainstream movies in Britain. Financing help for the venture came from US cable channel HBO. ‘The idea was to start a new commercial cinema, make smaller British action movies,’ Caine told Empire magazine. ‘HBO knew that Marty was a friend of mine, and they said to him, “You what we’d like to see? Michael Caine with a gun in his hand again, and a woman in the other arm.” That was the whole premise. So we bought these really hard, seedy, gritty detective books and made an incredible tough film, all action. This is a bit of a Dirty Harry Palmer.’

The character of Harry Anders had been created by a former British spy, Ted Allbeury. In 1992 Bregman told Time Out he hoped to make a series of Harry Anders movies. ‘I wanted to develop something where I could use Michael’s abilities. He’s a touch weathered, which most women find extremely attractive. You never see a romantic man on screen who’s over 40.’ Bregman had strong credentials as a producer, including several of Al Pacino’s best films – Dog Day Afternoon (1975), Scarface (1983) and Sea of Love (1989). He also produced Sweet Liberty (1986), starring Caine and Bob Hoskins.

The director on Blue Ice was Russell Mulcahy, best known for helming the action-packed Highlander films. Caine wooed Sharon Stone for the part of Stacy, but the sudden success of Basic Instinct (1992) meant she became unavailable. Instead the role went to Sean Young, an actress much mentioned in Hollywood rumours. ‘Everybody cringed with horror,’ Caine told Empire, ‘and said “She’ll be sending things through the post and leaving dead rats on your doorstep.” But I don’t believe everything I read in the press ... she wasn’t an ounce of trouble, she charmed everyone on set, down to the last technician.’

The $7 million film was shot on location around London and at Ealing Studios. Joining the cast for a cameo was Bob Hoskins, returning the favour Caine did for Mona Lisa (1986). Other familiar faces included Alun Armstrong, who made his film debut with Caine in Get Carter (1971), and US jazz pianist Bobby Short, who had a cameo in Woody Allen’s Hannah and Her Sisters (1986).

Caine told the Sunday Times there was a market for nice little thrillers. ‘There’s no money for huge crowd scenes or incredible jumbo jets crashing through hotels or something. So what we lack in money, we have had to make up in style, wit and invention.’ HBO retained the right to veto a cinema release, but Caine hoped that wouldn’t happen. ‘We’re not making a television movie, we’re making a cinema movie with television money. When we’re finished, they will look at it and decide whether it is worth releasing as a picture that can hold up at the box office against the big ones.’

Blue Ice was released in the UK during October 1992 with a 15 rating. The picture grossed just over $350,000 and received mediocre reviews. HBO decided against a cinema release in the US, premiering the movie on cable instead. The film was released on video in both territories during 1993, receiving an R rating in America. The US tape is still available but has been deleted in Britain. A Region 1 DVD version was issued in 2005, but the film remains unavailable in Region 2 format.

Reviews: ‘Michael Caine re-dons spycatcher duds in Blue Ice, a determinedly old-fashioned actioner that’s terminally light on real thrills.’ - Variety
‘It is a testament to Michael Caine’s screen presence and sheer professionalism that … he almost single-handedly carries this routine British thriller.’ – Time Out

Verdict: Casting Caine as a retired British spy was always going to invite comparison with The Ipcress File – a comparison Blue Ice will never win. Aside from a hallucination sequence in the middle of the movie, Mulcahy abandons his usual flashy directing for something duller and drearier. It’s a bad sign when a British movie shows Londoners explaining Cockney rhyming slang - to each other. Caine tries his best, but the dialogue lurches from cliché to cringe-inducing. Put simply, Blue Ice is a poor film with few distinguishing features.