Supporting Statements

 1. Experience of working in creative industries and the way they contribute to equitable innovation (essential to

the job)

Throughout my career in the creative industries, I've consistently focused on making innovation more equitable

and accessible to diverse stakeholders.

As Lead Technology and Development Manager for the Hi3 Network, I specifically worked to democratise access to emerging technologies across Kent. By establishing digital hubs in partnership with Screen South, Maidstone TV Studios, and Canterbury Christchurch University, we brought XR/VR, drone technology, and remote production capabilities to regions and creative practitioners who previously lacked access to these resources. This initiative enabled smaller creative businesses and practitioners outside London to experiment with cutting-edge tools that would otherwise be financially prohibitive.

At LSBU, I implemented the BAFTA 'Albert' sustainability scheme to ensure that innovative film practices could be environmentally responsible and accessible to students from all backgrounds. By integrating sustainability principles into creative education, we fostered an approach to innovation that considered broader social impacts and long-term viability.My work with the Arts Council of England documenting live performances across North West galleries specifically focused on making art more accessible to wider audiences through digital documentation. This project recognised the value of regional creative expression and worked to amplify diverse artistic voices beyond traditional geographic and socioeconomic boundaries.

As Studio Manager at Camberwell Film & TV Studios, I regularly worked with clients of varying scales and resources, from major studios to independent creators. I took pride in adapting our technical offerings to meet diverse budgetary constraints, ensuring that innovative production technologies weren't limited to only those with substantial financial backing.

Through these experiences, I've developed a nuanced understanding of how technological innovation in the creative industries can either reinforce existing inequalities or help dismantle them. I believe equitable innovation requires not only providing access to tools and technologies but also creating supportive environments where diverse voices can meaningfully contribute to shaping how these technologies evolve and are applied.

The CoSTAR WorldBuilding program's focus on ethical approaches to AI and emerging technologies for a more equitable live music industry particularly resonates with me, as I've witnessed firsthand how technological adoption can either exclude or empower traditionally marginalised voices in creative sectors.

2. Previous experience and expertise in managing, producing and delivering projects, programmes and events

with multiple stakeholders. (essential to the job)

My career has been defined by successfully managing complex projects that require coordinating multiple stakeholders across different sectors. This experience directly applies to the demands of the Piloting Producer role.

As Producer & Studio Manager at Camberwell Film & TV Studios, I managed diverse productions ranging from Hollywood and Bollywood set-builds to documentaries for Wild Bear Australia and multi-camera live streams for ByteDance (TikTok). Each project required careful coordination between creative teams, technical staff, external clients, and freelance crew. I ensured that all stakeholders' needs were met while maintaining production schedules and budget constraints.

When serving as Studios Manager at London South Bank University, I led the relocation of the School of Arts and Creative Industries from London Road to Borough Road. This large-scale project involved coordinating between builders, specialist contractors, electricians, riggers, university staff and academics to successfully move and recommission multiple film and TV studios, edit suites, a radio station, sound studios, a cinema, and a server room. I also managed the design and implementation of a new NDI-based streaming newsroom, requiring coordination between technical vendors, university IT services, and academic departments.

During my time at the National Film and Television School as Head of Production Support, I oversaw a complex slate of student productions across animation, drama, and documentary departments. This role demanded meticulous scheduling, resource allocation and stakeholder management to ensure successful delivery of all projects within educational deadlines and budgets. I coordinated between student producers, external industry mentors, technical departments and department heads (HOD’s).

As Lead Technology and Development Manager for the Hi3 Network, I delivered a multi-partner research and innovation project that established digital hubs across Kent. This required managing relationships between academic institutions (LSBU and Canterbury Christchurch University), industry partners (Screen South and Maidstone TV Studios), and funding bodies (European Regional Development Fund). I coordinated workstreams across multiple sites while ensuring all stakeholder objectives were met and project milestones were delivered on time.

My experience with the Arts Council of England project demonstrates my ability to produce and deliver events, as I managed the logistics of filming live performances across galleries in the North West, culminating in a gallery exhibition of the documented work at the Birley Art Space. This required coordination between artists, venues, technical crew, and gallery staff within tight scheduling and budgetary parameters.

These experiences have honed my ability to manage complex projects with diverse stakeholders while maintaining

focus on deliverables, schedules, and quality standards—

Fab '25.. Lunar nu

 

Hey John, Happy New Year!!   Lunar and otherwise  :). I saw the following link, and thought you might be interested... https://www.forevernowfestival.co.uk/. I tried to send you this via Facebook, but Messenger now demands some security nonsense.  As for me, I spent Xmas in Stroud & the Cotswolds at Joanna’s, my new girlfriend’s place.  Before Xmas, I had an interview at the NFTS to be the new Studio Manager for the new CoStar tech. studio coming to Pinewood next summer.  It was between me and two other people and the person that got the job promptly left,  they didn't offer me the job and its been re-advertised.  It was a real shame that I didn't get it, I got on well with Adrian, the Lead on the project, but I still think Jon is a plonker (more so now). So that is that.  Any way... I hope all is well with you and fam.  Not sure if I can convince Joanna to come to the aforementioned festival, though we're currently talking about a mini break in Crete. Hope to catch up with you when the weather improves later this year.  T

 

 

Hey, hey..  VR was interesting. i went down the Amazon in a canoe for a while / watched trees being cut down (it was tailored for the WWF)  got lots of facts and watched a sloth climb a tree.  had a nice discussion with the researcher afterwards, he agreed that the Apple Vision Pro would have been better but it has fewer apps..   Then…. I left my phone after having a coffee,  caught a bus outside, then looked through the window and saw it sitting on the table I was at as the bus pulled away.  SHIT!!!!   there was no getting off / we waited at the traffic lights as central London phone stealers hovered around (in my mind) as 10 mins passed and i’m thinking no way and its quite a long RUN back to the Cafe.  So anyway.  in thick jumper, thermals, shirt and parka jacket I sped off back to the gaff.  Got there.  the girl on the next table was oblivious to my gasping, pointing blah, blah, arghhh! it wasn’t there.  Then two guys in the queue, said they had just handed it in -SAVED!!!   So, then I got the bus back home and then had a coughing fir, as my lungs haven’t (obvs) breathed that deep in a long time.  That subsided and I decided not to see the film back in Brixton , but to come home, meditate , eat , have that nice jap[anese beer, and then have a bath.  And so it was and will be.  Its Wildlife Wednesday tomorrow (uh-oh!)  anything could happen.  will try and fit the film in after getting cold and enjoying nature etc..  O)k, Now its bath time. ;). Xx

2024 /2025

 Hi D,

I hope all is well.  I seemed to have missed my annual Summer visit to Essex, for whatever reason,  and now the leaves are falling and It’s getting cold again…

I just saw on the web / Linkedin that Paul has a new job, and maybe someone has had a birthday recently via Jackie on Facebook. :)  

I have never known anyone’s birthdays, ever, so its always a nice surprise that everyone remembers mine ;)

After seeing Paul all grown up and wearing a tie / jacket on his profile it reminded me of the one time this year, last week, when I was on a film set in East Grinstead  And persuaded to dress in 1960s clobber for a reenactment of a lecture at Saint Hill where L. Ron. Hubbard/ Scientology is based.  It was freezing and it took all day to get the camera set up and the whole thing was done in less than 30 mins.  but that’s the nature of the business.  I was also in an episode of ‘Slow Horses’ which is an MI5 drama on Apple TV with Gary Oldman as the lead.  This will be screened next summer, so I have no idea how much if any, screen time I will get.  But it was fun to do.  See attached ID card.

Apart from the above, it’s been relatively slow, work-wise,  and I’m luxuriating in having some time to set up my websites and catalogue my work.  

——————————

You may remember that I used to work as the Film Studios Manager for London South Bank University (LSBU) and that one of my colleagues lived in Rochford near you.

Well, I was recently hanging out with him (Tim) at the Ally Pally Fireworks display along with my new Girlfriend  Joanna and he was telling me about his woes with a local builder called:  Darren Piper / Blueberry Build Ltd.

The work has not been done satisfactorily and is all a bit of a mess;  he’s very unhappy and communication seems to have broken down between them.  He has asked me to ask you if you might know any good/reputable builders in the area who could step in and finish the job.  see the attached pdf of his cottage and the extension work already done / and how to rectify (via his architect) the current issues.

Any help would be appreciated.  If you can think of anyone…??

——————————————————

So, I’ve planted about 50 bulbs for springtime and the pots are on the roof, waiting for spring.  It doesn’t look like I will be able to get away to a warmer country again this year but may go and stay with Joanna in the Cotswolds for Xmas.  

I’m heading into Brixton for a Coffee and making plans to go to a concert in Tuffnel Park on Saturday.   Currently waiting on my next job to be be green lit , so fingers crossed.

Say hi to everyone and let me know if John is feeling better.

See ya,

Trevor

TNJALTXMAS2024

 

Film Accountancy

Make a list of everything you think you need before you start a production.

I am going to attempt this in the order I think they will happen, to get us ready for production:

Some seed money to get a film project off the ground. Various sources

A development Producer commissions a script from a writer or options an existing script or book to be made into a film.

when the key elements of the script are ready a Producer may try and find a director and key cast members who are interested in its potential.  A line producer may then come on board to assess The script and work out the projected estimated costs.  This will be broken down, probably in movie magic,  and Costs accounted for depending on the size of the budget and the film’s aspirations.

Using those attached to the project they will try and raise the finance for this through various means,  either through the studio system, independently or even by crowdsourcing, ..  there are many ways and these can overlap inc. deferred fees or giving points / exec status to an A list actor etc.

With the money in place or promised (contracted).  HODs will then be approached and brought in whom the producer and or the director are keen to work with.

These HODs will break down the costs for their departments to give a true reflection of what they know from experience they can achieve.  Bearing in mind the line producers’ original estimates.

With the budget finally agreed upon and the show/film green-lit.

A limited company will be created for future tax rebates, etc.

A production office will be set up, maybe close to where the majority of filming will take place.

Pre-production will start,  inc. booking locations,  studio space and  The below-the-line personnel will be contracted for their various departments.

The accounts department will work with the line producer & Production manager. they choose &  buy in the software they need for accounting and payroll.  Contracts will be issued, by the legal department (if there is one).

As the shoot dates get nearer, more staff will come on board to get everything ready.

Crew/talent may be coming from various places worldwide and their accommodation, food, and lodgings will need to be coordinated by the production office.

Day One: turnover.   
------------------------------------------------------------------------------------------------------------------------




What experience do you already have in accounting or working in the film and TV
industry? Don't worry if you're new to both!

I have worked on low-budget short films and features as a PC, PM & line producer; this has involved creating pre-production budgets,  accounting and cost reports. I started in the industry as a multi-skilled technician and videographer and have since been running film studios for the last five years.

Why are you interested in learning about production accounting?

Since studying at the National Film & Television School  I have taken a strong interest in film budgeting and production management.  Previously,  I was only interested in the creative and technical aspects of filmmaking but now realise it is a vital part of the process.

What do you think production accounting is?

 The predicted  & the real costs when bringing a film to life.  The actual costs and daily accounts of the money spent when on production and the organisation of the costs and their departments.

And why did you join the course?

I am interested in learning more about how a large production works out its budgets and potential future career options.  



———————-



Some notes on the differences you spotted between the two clips. Did you spot things we didn't mention? Were you surprised by the amount of differences?

I guess a big cost would be to have a ‘star’ name attached to a production,  this above-the-line cost can be considerable but needed for marketing and potential reviews.   I was very aware of the difference in filming techniques; as you mentioned.  With the BBC’s version obviously quicker to film with far fewer set-ups; which would inc.  lighting changes and gaffer, sparks etc..  needed on set (additional costs).   Also,  the quality of the sets and location were a huge difference.  I would add that different lenses would have been used by Disney’s version,  which would need hiring in, along with a named DOP, operator, 2nd AC (the list goes on)  and all the associated costs involved too.  With bigger [productions come bigger and more intricate and detailed costs so the accounts team would need to be bigger too; who also need to be paid :)


Why do you think price points vary between different productions?

The size of crews.. The intended audience.  the above the line costs

3 Thinking about this week's learning as a whole, how has your perception of the production accounting role changed from the initial ten words you submitted at the beginning of the session?

the level of interactivity between the production accounting team and the rest of the production.  Also (I’m glad to hear/see) the knowledge of production and all the different departments and the jobs they do.


 After posting your contribution, please read the work of at least two of your peers, and comment on their thoughts.


:)

Joe

 I first met Joe on my first day at Camberwell Film Studios.  I had heard about him, beforehand and was intrigued to meet him.  He was, previous to our initial meeting, described as the ‘spirit’ of the studios.  Which I learnt over time and getting to know him was an accurate description.  I felt we properly got to know each other when we worked together practically as Joe described what he had built, fixed and planned for the continual update and restoration of the place.  It was evident that he was passionate about the space, looking after it and its’ inhabitants.  He brought his humanity and spirit to the place, which he had built with his hands and ingenuity.  I have many memories of Joe, finding him asleep after painting one of the studios all night,  with his trumpet next to him.  His enjoyment of working in the back garden seemed like a mystical art and his regular visits from his daughters and grandson which were his priority over everything else.  He was a positive force who helped me when I was stressed and a vital part of the community. 

https://josephmicheal-girigari.muchloved.com/

Choose TM - The T-shirt

 

un send M Cat

 Oh, contrair,  Monsoir .. maybe its like the love for an old dying cat..  either way  I’ve already got meself involved with an international collaboration.  when I mentioned to Nijeena that we should write poems about colonialism onto old Indian surplus military uniforms / helmets.  

Her dad was a naval dude and we went to the base at Fort Kochi..  anyways….
She went away with the idea,  has now got the stock tracked down, and is ready to rock on this.

I,  joined one of those British council online ‘how to’ zoom classes about how to fill in the Damn forms and it all came back to me,  (dream/memory woozy sequence) my early days in London..  doing these goddamn forms for film funding and all the bollocks that the meetings / forms, committees and everyone else whos made a job for themselves, their mates & family and then the same few people who were always the recipients..  IMO

well, they know how to do the forms properly and are not cynical about the process, which mocks the existence of the families, friends, and everyone else involved with paying themselves a wage to give someone else the money.  

 This is probably why I trained to be a production manager and not a producer in 2007 when i walked away from Tele-land..  So, the money is already there.  You get on with the job with whatever dosh you gotten..  

So,  there was some space for extra people to get involved and grab some of the filthy lucre.  starting at 25 k going up upto 100k .

And the old/new adage ‘if not now then when.’.

—————————————————————

..  So a pot of Ronseal for the wooden sign..
  the thing about that place (India) is that women don’t ever go to wood mills, ask those questions and get answers..  The whole process of selecting the wood and getting it cut, i’m told, was a bit of a circus.

So,  I said I’d ask and I have..

 I’ll see if amazon deliver to Kerala.

————————————————
Kate's Mum ‘Cathy’ was away and we’ve been In touch

'Real' 2023

 Hi Libby thank you for your response.

Is this a real response or just a general one..?  

After giving careful consideration to all the selection criteria, it was felt that your skills, knowledge and experience were not as strong as the other candidates who have progressed through to the next stage.


As you would have seen from my experience, I have been a F/T live television director/vision mixer for many years.  Also a cameraman on hundreds of hours of live concerts that have screened on BBC1 / MTV etc..    I have worked on feature films in a technical capacity and my own documentary (producer/director) was chosen as the pick of the day by Time Out when screened on TV.  On top of this, I was trained at one of the Top Film Schools in the world: The National Film & Television School where I have since been invited to teach on many occasions; I trained at prestigious art schools for five years and possess a Masters in Practical Moving Image Production.  This has been utilised in moving image work for the Tate Modern, Saatchi and Saatchi galleries as well as for artists like Thurstan Moore (Sonic Youth). Last year I continued my training In Virtual production at the Mars Academy on one of the largest LED Volumes in Europe.  Before all this, I was a fully trained projectionist who presented films at the Toronto Film Festival.  

If your other candidates have higher skill levels, knowledge and more Experience than this then That’s amazing or is this just a standard reply…?

Many thanks and nice to chat last week..

Regards,

Trevor

White Dress Dream Angel

I was stood behind your 'dream' white dress girl at Holland and Barrett in Camberwell today.  She looked like she was incognito with a baseball cap pulled right down over her eyes.  I think she might have been with her dad who was watching through the window.  She seemed so out of place that I didn't want to break her 'silence'..  Slightly nervous but confident with a very posh accent; I think she might be from a very 'secure' family.

Thanks for the links.. Shoebury link / group wanted my Shoebury address so that didn't happen. Expect to see some action on FB soon!

New colours and now 3 pages loooong:  https://txh1.mmm.page/new

UCA / No Way (draft!)

Hey John ,

Not sure if this is still your active e-mail ..?  Anyways…. I’ll track you down one way or another.. If I don’t hear back.  :)

Few things that I wanted to discuss with you. Details below, nothing heavy…

Some updates:  Magalie is back in Australia and just waiting for her new contract with Schneider electrics &  hoping to buy a house with a pool!  I’ll probably get over there at Xmas for a swim. :).  I’m still living in the same lovely flat in Brixton and off to a music festival this weekend called Mucky Weekender near Winchester.  But missing my partner in gigs / events (Magalie) .  So I really don’t mind moving out to the country side (Farnham way) if they need me (details below).

Though you might be up for this..  if your available & interested..?

My Friend Sharon is an Art Teacher  at a well-to-do grammar school in Canterbury and is looking for people in the Film & TV industry to come and talk & motivate their 6th form students about careers and opportunities.. That kind of thing. 

Looking for someone to do a presentation, Q & A etc..  Here is her outline:  'We run lecture slots on a whole host of things to motivate students in ‘out of school context’ ways, It’s first thing Friday mornings (9-10), when they have a slot for these kind of talks. It would be in the hall and for the whole of year 12 ( first year sixth form 16/17 year olds - around 150), so a presentation kind of thing. The school is Simon Langton Girls’ Grammar School, Canterbury. It’s a co-ed sixth form.   - mid September/early October. If you could propose that, I’d be so grateful.'   -

TBH:  I would find this incredibly scary but I thought you might be the right guy for the job….  ??

Sharons contact info.. :   xxxxxxxxxx

Also..   I’ve just been for a chat with UCA Farnham re: Technical Services Manager post:  looking after their studios, facilities and Staff.  I did a presentation and spoke about the 10 Years that I worked on / off at the NFTS, as well as commercial work and LSBU.  I mentioned you and the DFX dept..Where you employed me, now and again,  between 2008 - 2018.    There is a small chance that they may want to follow up my presentation and discussions and I hope you don’t mind that I mentioned you as a previous employer.  I know it was previously  alot of Hassle with Bianca the  HR at London South Bank University when they previously asked you for references for me etc.  And they were really pedantic / idiotic about the whole process..  Maybe you still have your response and that could work for UCA..?  Anyway it’s just a possibility and the logistics of getting to Farnham, Surrey everyday might not be feasible.  

—    Ive just bought a ticket to see the ‘Death Cult’ at the electric Brixton in November.  Not ‘The Cult’ or ‘Southern Death Cult’, but essentially the same people,   doing all their old ‘goth rock’ songs for one last time.  So music from around 82 - 85 ish ..  No new songs.  I guess everything up to ‘she sells Sanctuary’ but really concentrating on the early years.  Would you be interested in coming along..?   I’m going on the last night of the tour..  at the electric Brixton. November 21st…

This sort of thing:  https://youtu.be/YV9Xo_7xPRc?si=YlT8MaEk8RDGhzYe  https://youtu.be/uod2gdVKP6c?si=Ws8JruyNA7rKQ6ND

It’s ages away but I'm planning ahead… Let me know ..  :)

Have been reading about this mega camera ‘Big Sky’ recently; looks like more disruption coming soon to the industry if we’re not all going to just use verbal prompts in Runway.ai to create films in the future?  :  https://www.tvbeurope.com/production-post/sphere-studios-unveils-most-advanced-camera-system-in-the-world

Creative projects on the go:  music, paintings and stuff:  chk here:  https://linktr.ee/tch1.  Have a look if you have a sec.

Personally Ive been out of work (consulting!) for the last few months and thought I might be better suited  back in education.  As much fun as the commercial world has been,  its been very tiring and full of egotistic big babies..  That’s just how I feel at the moment.  But currently  nice and sunny so I guess I’ll jump on a bike and head out to enjoy.

Catch up soon.

---------------------------

Hi Tony,

I hope all is well!

Its been 24 months since I moved on from LSBU and I thought I’d contact you and give you an update of what I’ve been up to…

Two years in the commercial world as Studios manager for Camberwell Film & TV Studios and Greenwich Studios too.

 I've recently been reflecting on my time working for LSBU & as an employee in TSS,  considering what worked and what obstacles I encountered.  Particularly with the move of the school of ACI from the London Road site to Borough Road.  Both the achievements and the setbacks, good and bad,  dealing with the various contractors, our technical staff (some of whom did not like change and actively rebelled against it & me), the previous director of the school,  and maybe how I would go about things differently in retrospect. This came about as a task & application I recently did for UCA Farnham for the role of  Technical Services Manager.  I was invited to do a presentation and used an ishiwaka (fishbone) diagram to look at the root causes of some problems I perceived along the way; also I didn't slander or mention anyone in particular.. 

I  hope that my ‘legacy' on the multiple projects that we undertook and my determination to provide the best facilities possible are still part of the foundations of the school of ACI and the various courses we supported.  From the 4k Cinema and the ‘broadcast journalism' space with NDI capability and Newtek TC-1 vision mixer as well as the training I organised for the team.  Along with my eye & ear for detail and making sure the studios were equipped to their best capability, keeping the pressure on MARIS persistently to fix their errors, inc: silent AC in studios, connectivity to the other studios etc.  This was also true for supporting the sound department and the installation of Dante in the edit suites.

I am still in touch with  Tim Fransen (Technical Tutor) and enjoy hearing about developments within the department and team.   Personally, I have employed multiple ex-members of staff and students on my subsequent projects.  From hiring Ilaria (ex-kit room) on a Muhammed Ali feature film we produced at Camberwell studios.  To training ex-students to work on live streams for one of my clients Inc. Tik Tok.  Recently, I was complimented by a film graduate who was working for me at Greenwich Studios when he found out I was the previous Studio Manager responsible for his old course he stated that the studios at LSBU were ’Sick’.  Which was high praise.    Another thing that I mentioned was that I was on site,  looking after the spaces, during the whole of lockdown.  Working with the health and safety department at LSBU in my capacity as Unison H+S rep.  Along with writing new guidelines and SOP's for the courses we supported and helping with the other schools as well.

I also initiated the digitalisation of Screen Studies core texts and negotiated a separate server for them from IT.  I found and and framed all the cinema posters around the studios, including a display cabinet for awards; which no one had thought about doing before.  As well as introducing the software CeltX for the producing students and the Albert (sustainability) scheme to the film production department which are now both part of the curriculum.  Along with looking after the BFI player subscriptions for all the staff and students,  Inc. liaising with them. I also volunteered to edit the course profiles for marketing, in my attempt to break down divisions between departments.

It was really unfortunate that I had to leave Lizzie’s research project after I moved to her department after two years within TSS.    You probably know that there were huge delays (12 months!) with the refurbishment of the studios I was involved with creating at Maidstone TV  Studios, this was partly down to the pandemic,  getting the right contractors in place and subsequently missing our window for a timely build.  It was a ‘dream’ job for me and I was very disappointed with the delays and that we could not look for another site to refurbish instead. Very frustrating.  I did, however, change the whole direction of the project for all the ‘hubs’ and partners that we were working with and was very happy that everyone embraced my ideas and went with the new direction and approach that I suggested. .  Again, I believe my influence was key in making this happen through my research and presenting it to all the stakeholders.  

This also meant that I unpacked my boxes,  as I was moving to Kent and closer to the new studios,  and was left in limbo.. with nowhere to go..  Luckily a studio near me in Brixton needed my skills and soon took me on where I put all my Health and Safety training to good use and got them up to speed.  Clients include  Ben Malloby (academic on the film course) with Ruby Wax & LSB students on the crew,  Feature films, music videos and producing documentary work.

Recently I have been working on TV projects inc. the Eurovision Song (BBC) contest and The Booker Prize.   However,  I am looking to use more of my skills in facilities and advising on H&S and production in higher education and a role came up at UCA Farnham that I am keen on exploring.   Utilising the experience and knowledge gained over my career and using my experiences at LSBU as an exploration of what I thought worked and what I would do differently now, on reflection.

With all the above in mind, I thought you, as my former head of department,  might be the ideal person to corroborate or give your own account of my conclusions...? So I hope you do not mind that I put you down as my former employer in case UCA want to move forward with my application.

A film Review

A gonzo and speculative look at that Wes Anderson Film, that at first may seem tedious, self indulgent and was inexplicably quite well reviewed. What’s going on here?  No one I know, who has seen it, has anything good to say about it = Conspiracy!!   What can it all mean…?

This film was made during the recent pandemic and lockdown and is analogous to those times.  It represents, through its narrative and symbolism, the isolation and ennui that occurred on a micro scale that can now infect us all over again with this representation on screen.  

Here’s how I’m going about this: If you imagine that the pandemic virus is shown symbolically in this film by the brief appearance of an Alien then this might all make sense…. It is structured with three layers of ‘Reality’.   It self consciously depicts the nuts and bolts of its own fabrication in multiple interconnecting storylines.

Structured like this:

1 : A besuited, shot in contrasty Black & White (b+w) announcer, a bit like the twilight zones’ Rod Serling.   Presented by the actor Byron Cranston who bridges the sections together as a meta narrater.  Looking straight at the single viewer.

2:  A 1950’s teleplay, also shot in b+w, about a theatre writer who is staging a play in Asteroid City.  This character plays to the spectators through the artifice of this imaginary constructed scenario and seemingly to a larger viewership.

3:  Asteroid City: a 1950’s colourful Cinematic world that is the ‘stage’ for the main event and context of the film.  The actors in this world do not look at the audience.

The structure of it’s reality can be said to be likened to its sources; that it mocks and also aspires to be:  The 1950’s and the iconic stereotypes that were produced and constructed by Television & Cinema that traversed the globe from Hollywood through the post-war & cold war propaganda system; that we are are still subjected to today.

Q... Are the film makers usurping these cliches or reenforcing them…?  Maybe Both….

.. From the artificiality of the whip pan camera moves, for no obvious dramatic reason in the first scenes of  ‘asteroid city’,  You may ask yourselves: Are these here to highlight the artifice of this medium..?   To the picture postcard, pastel colours and hyper real 50’s style sets.  Whilst the actors only present it as fake when crossing over into the other B+W ‘realities’ of the film.  An example of this is when the ‘announcer’ appears in ‘Asteroid city’ in colour for the first time and announces ‘Oh.. am I not in this scene’ and promptly disappears.   Depicting that this reality is fake whilst in the other b+w scenes, where he is addressing the audience, he is addressing us with something closer to truth….  As he informs us who is who and what is happening as a Grand Narrator.

Maybe the whole plot has been woven to reveal to the audience how we can be manipulated?

This device is used again in the teleplay ‘world’ with Edward Norton as the play writer.  The actor ‘Jason Schwartzman’ smashes a fake window for (fake) fresh air when he crosses over into this thinly veiled construction of The Real World.  He then goes on to add his fake beard, that he was wearing in the colourful asteroid city scenes and to discuss his part in the script & how to play the character: “Too much pipe and eye brow raising..?”.  Self consciously nodding to the viewer and that ‘we’ are ‘in’ with them and the use of this device in our relationship with them.  A-ha..we won’t be fooled by the trickery.  If we go along with this and are not annoyed by this breaking of cinematic conventions we should be paid back for being complicit in all this playfulness? Maybe with the revelation of truth that is concealed In plain sight, that we may encounter everyday through these mediums..  Right..?

So: Colour = represents a lie of the realist world as portrayed on screen.

b+w =  more genuine as it reveals its non-reality more honestly.

Following this logic of the less realist / colourful the more genuine then surely B+W animation is the highest form of truth; as it does not conceal its alien nature to us..

(Go with it!)

Conspiracy:  in the films most entertaining scene a PENTAGON shaped space ship hovers above the colourful city.  A nervous looking Alien, that is animated, comes down a ladder and takes the asteroid that the city is named after.  After this event the government enforce a lockdown and we see all the town & actors isolated.

Either its an explanation of the lockdown. Or It's saying that the whole Alien thing is just a fabrication by Hollywood & the government…

OK,  lets go for this...

Speculation, rumour, conspiracy..  
One of my favourite speculations for the recent lockdown & pandemic was revealed during a zoom call I had with a London university as we chatted before a meeting .  This is what was said::

The governments of the world had been told to stop burning all the fossil based fuels on the planet as the Aliens who wanted to visit could not land their vessels because of all the pollution.  Hence the lock down...

So,  this is a lockdown film about an alien arrival that Wes has decided to tell us the truth about in a symbolic way...?

The spectre of Death:  In the background… We, the audience, see in the 'Asteroid city’ colourful world a mushroom cloud in the distance as the government conducts atom bomb Tests in the desert.  So, here we have government tests and the looming spectre of the end of the world.  Retro paranoia, hinting at what’s to come…    Selling Fear…?  What awful times to be living in with that on the horizon.   I’m glad we’ve gotten over all that non-sense.

Within this context the only subjects that are not pretending to be involved in this illusion appear to be the actors themselves as we see in the actors studio b+w exposition scene. They are told to act asleep (representing the audience..?)  And then they repeat the line ‘It's time to wake up ‘ as the camera pulls back and they look through the lens at ‘us’ breaking the imaginary fourth wall.

So we’ve got: Government tests with mushroom clouds in the distance,  an alien that may be a fake played by an actor, after the animation sequence we see behind the scenes the actor Jeff Goldblum in the alien costume without mask who also just happens to have starred in the Hollywood blockbuster 'Independence Day'. So this is a fake!!
Using this logic,  the  animated version of the same looking alien must represent a higher level of truth..?  'We' are not privy to the animator making this scene though...

A conclusion:  The government had to lock down the planet, so that Aliens could land and we are being treated to the poetic truths right here, right in front of us,  Just open your eyes!! Its time to wake up, its time to wake up, Repeat the mantra, repeat the mantra!!!  Smoking is cool and we’re definitely not living through a second cold-war; It’s all just in the media nowadays.  Scarlett Johansson takes her clothes off, again, purely for narrative reasons again!… (Phew: tick another Box)

Maybe if this was executed using humour and acknowledging that we like entertainment in our dreary lives, it might have worked better? it does come across as a self indulgent piece by someone who happens to have a lot of Hollywood friends and no one ever saying No to them.  If you like structured films just pop to your local video store and get some Peter Greenaway stuff or earlier Wes Anderson films that were good.   

Anyway…The film makers got to spend that barren time with their friends, hanging out and doing nothing interesting and we the punters can just now observe at our own time-expense and wonder..  WTF….

Or..

Its a subversive testament to destroying the very hand that feeds by questioning the role of the entertainment industry to mis-inform, manipulate and coerce the population through its mimetic qualities….  ?
What’s on at the cinema this week ?  

A 1950’s based, cold-war film called Oppenheimer..  

Sounds good..

got a light..?

Ends….

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If you have more time on your hands ..  There is more stuff below that I decided to originally leave out (edited: 1st August '23):

The theatre playwright:

in the 1950’s theatre parody ‘reality’ where Edward Norton lives in a B+W world of shoddy sets and cliches.  This is constructed as a TV play as shot through the proscenium of the theatre and academy framed TV screen; hence why the aspect ratio changes. Stereotype alert. there’s someone at the door. He and Jason Schwartzman discuss the role he will be playing In the ‘cinematic’ colourful world of Asteroid city and the play that will be produced there.

Wow, two men kissing after sharing ice cream; gosh, aren’t people who work in the theatrical arts a bit Gay. This is very progressive for the 1950’s, except it isn’t… It's 2022 (3) and everything needs to have a dash of the rainbow in it these days. Lets tick another box for this glaring cliche…

Let’s take another look:  A child, who is smoking with the wandering minstrel group in ‘Asteroid city’. Yes, smoking has been portrayed as cool in Cinema from its earliest incarnation. The tobacco Industry is still a major contributor to Hollywood,  hence why we get more and more of these period pieces where they smoke in them, for authenticity, although tobacco advertising on screen is  supposedly banned.  The cowboy minstrels are blamed by the mother for giving it to him, highlights this trope, but at the same time it still shows a kid, being funny(?) and smoking.  Ha ha!.  Yes… all the audience are as clever as the L.A. ‘creatives’ who have manipulated them for all these years; by making smoking cool in their films and now referencing this in retrospect.  we’re all in on this joke…(coughs)

In the middle of a school lesson, the same child,  starts singing and dancing..?  Ohh, like in those old movies,  how funny…(?)

This film has really, highlighted and caught the essence of the pandemic & lock-down.. in its depiction of nothing happening, inane repetition, and the very essence of being bored.

Ben Okri - In Arcadia