Geoffrey, does working for the small screen equate to shooting a feature?
Alex Pettyfer is quite a discovery, he really holds the screen playing Alex Rider doesn't he?
"If you look at the trailer, when the teacher says 'Alex Rider have you prepared something for us?' and he looks up and says 'yes sir', there is so much going on in that face at that little moment. It's the first moment in the film, I always used to say when we were on the set that the audience will love or hate it at that moment. That's when they'll decide if they're going to enjoy the film, when they first see the boy playing Alex Rider and the first thing he does.
Are you prepared for this role to make you a heartthrob for teenage girls everywhere?
"I don't think about that yet. But hopefully, touch wood."
How did you get the role?
"I was the first person they saw, and oddly enough the last person too. I went through this gruelling process of audition after audition. I finally got to the stage where I thought I couldn't face another one, but that was when they offered me the role. It was fantastic, a great opportunity."
Mike Figgis talks about the preview of Liebestraum and a short clip shot on the small Scottish isle of Iona Both of these clips are many years old and were only recently digitised to help illustrate my review of ADS Tech's Pyro Link, an analogue video to DV convertor.
Footage on videotape doesn't last for ever. I know this having recently looked at some Hi-8 footage shot around a decade ago to discover all sorts of glitches and fall out in the images, which I remember being virtually pristine. I'm not sure whether this is a case of seeing with the fresh eyes of an era where image quality has improved significantly, or I selectively edited out of my memory all the glitches in the footage, or the footage is just aging. Probably all of the above.
A star since his 1987 movie debut in Withnail & I, in the years since Richard E Grant has appeared in a wide variety of films for directors as respected as Francis Ford Coppola, Martin Scorsese and Robert Altman. Now he has made his own directorial bow with Wah-Wah, a semi-autobiographical tale based upon his formative years in 1960s and '70s Swaziland at the end of colonial rule.
How are a medieval mathematician, the petals on a daisy, and the length of women's skirts related to scarier frighteners at the box office?In the last few years, we have entered a fertile era for horror movies. Unfortunately, this period will also be accompanied by one of the greatest economic depressions that humankind has ever known and one that could be accompanied by political instability and war.
Bombastic budgets are promising to thrill and dazzle us this summer with every augmented pixel they can muster. The popcorn floweth.
At the other end of the box office are indie flicks, trumpeting their own tunes amongst the mainstream fanfare. The Magician, from the humblest of Australian beginnings, is a good example.
It takes the guise of a mockumentary of Ray Shoesmith, a prosaic, urban, Aussie hitman, filmed by his next-door neighbour, Max. It was pulled together with an abundance of self-belief and commitment by its star/director/writer/producer/co-editor Scott Ryan.
The Cannes Film Festival (17-28 May) reinforced its auteur credentials this year with a varied line-up of films in competition for the prestigious Palme d'Or in 2006.
Glasters is like the Proms with rock, drugs, dreads and a vat of mud. A great example of Brits at play. This year there is no Glastonbury festival, but Julien Temple's film aims to fill the void by documenting how the annual festival has become The Best Music Festival In The World.