Comments for Creative Industries Incubator Space in Edinburgh

Comment on by edinburghjoiners

edinburghjoiners — Wed, 30 Mar 2011 12:52:38 +0000

Impeding those who have bright new ideas, it is nothing new. Instead of create they like to destroy, something has to give and I hope that there is a change of heart for the Council.

Comment on by Struan

Struan — Tue, 15 Mar 2011 13:07:23 +0000

Hear hear! (or is that ‘Here here’?)
It’s quite tragic really, and does nothing to dispel my poor view of that nasty group that are in charge just now.

Comment on by TUFTY wins again!

TUFTY wins again! — Mon, 21 Feb 2011 12:21:37 +0000

[...] The film is also popping up on lots of blogs and horror forums such as these: “The stand-out film for both of us though (and judging from the reaction of the rest of the crowd, everyone else) was Brendan and Jason Butler’s Tufty, a heart-wrenching glimpse into where teddy bears come from. For anyone who has one from childhood they are still particularly fond of, be warned: you may never look at it in the same way again.” http://edinburghscreenworks.co.uk/1239-2/ [...]

Comment on Please Stand By – Future Stars of Scottish Film by Tattoo Tickets

Tattoo Tickets — Tue, 01 Feb 2011 16:16:27 +0000

Thanks for posting this, hopefully 2011 will be a good year for Scottish filmmakers.

Comment on 5 Hotly Tipped New British Directors by Keith R. Dawson

Keith R. Dawson — Sat, 13 Nov 2010 05:25:16 +0000

How can I contact Hattie Daltons agent who are they?

Comment on by DENNIS DALRYMPLE

DENNIS DALRYMPLE — Tue, 26 Oct 2010 07:09:40 +0000

October 22, 2010 at 2:32 am

DENNIS DALRYMPLE

So Satisfied. As a resident of Hollywood, I had the enlightening opportunity to be a Student of Chris Vogler at a UCLA Screenwriting Class taught by the Master Himself. Aside from a wonderful, friendly personality, Chris is very well versed on many film stories and movie history. (As I am myself) I didn’t want the class to end but when it did end I felt satified that I had really learned something important about Screenwriting.

When I read the Book Review by John Gibb, I was not suprised by the wonderful report he posted about “The Writer’s Journey”. When visited by my ‘Screenwriting’ friends, I always show them my copy of “THE BOOK” and how well worn and marked up with notes and ideas. What a joy for a writer.

At the time of these great UCLA classes, I was Host and Producer of 65 cable TV programs for my beloved Union, UAW, United Auto Workers. Chris quickly accepted my invitation to join me for a one hour interview on one episode titled, “UNIONS AND THE MOVIES”. The hour flew by as we talked about several films including “THE WIZARD OF OZ” and “STAR WARS”. I used my editing skills and inserted needed video to explain our points. FOR EXAMPLE, When Dorothy opens the door into the ‘Special World’, we see it change from ‘Sepia’ tone, (Not black and white), to color. I know some of my friends visit me to say Hello, but really to watch Chris and the video again.

As for myself. Since my classes with Chris Vogler, I wrote 3 Screenplays, 1. BLOODSUCKER, 2. BLOOD ON THE CANVAS, 3. MARK TWAIN IN HAWAII. I also wrote the stage play version of ‘Twain’, which ran for six months in North Hollywood.

I hope these comments don’t bore you or go on too long, but it is all true.

Comment on by Nancy

Nancy — Thu, 02 Sep 2010 02:10:33 +0000

I’ve found that the reviews of this play that don’t “get it” are invariably written by someone who went in with their own personal moral ideas about what they wanted to see, expectations about what message they wanted, rather than evaluating with no preconception, based on the original perspective at hand. If one wants a tale of triumph of the will or social activism, then one should watch a TV movie or government propaganda film. Great art rarely touts a moral position, but rather raises questions about ambiguity and irony in how things are. This is what Zoe Mavroudi’s play and performance have so wonderfully achieved.

Comment on by Megan P.

Megan P. — Wed, 01 Sep 2010 00:43:34 +0000

“…crass, unnecessary scenes of acting as a prostitute”?
Is this reviewer serious? The actress was dressed in a long-sleeve shirt and long pants during these scenes which I thought managed to convey the torment of the prostitute/character in a subtle and heartbreaking way. Her choreographed actions were imaginative and theatrical and had nothing to do with realistic depictions that you find on the internet, films and TV. And why were they “unnecessary?” This was a play about a woman who’s been exploited an abused in an apalling way.
And what does the reviewer mean by beauty being both: “a gift and a curse; appearance had played a role in this woman’s going to jail, but could also potentially grant her parole.” So are you in favor of beauty pageants in prisons and you think that women inmates should get parole for dressing up and looking pretty? Is that your idea of making a “social comment” and addressing the “serious subject matter” of prostitution and the conditions of the prison system? Perhaps you should review beauty pageants then. Not plays.

Comment on by Alec

Alec — Sun, 29 Aug 2010 13:59:25 +0000

Having seen this play in New York, I don’t understand this review at all. The reviewer makes claims of a generally “inappropriate” and “crass” and “disappointing” show without ever explaining what the reviewer had a problem with in terms of any actual dramatic problems. These kids of generic terms don’t help to forward the cause of artistic critique but instead simply showcase ignorant and narrow-minded biases of the reviewer. If anything it seems like the reviewer is bringing some element of personal perhaps moral or political judgment to bear here and not offering up a true artistic, critical eye on the work.

The writing and Mavroudi’s performance proved themselves strong to the New York audience both during the performance when the crowd alternatively laughed and sat wrapped in silence as the story and the storyteller drew them along. During the Q&A that followed the performance a discussion of the play itself and the true stories that inspired it also served as proof that the telling of this story in this way evoked an empathetic response from the audience and a curiosity to know more.

One would hope that a reviewer attending the Fringe festival would have the capacity to appreciate an off-beat but powerfully stylized production such as Beauty is Prison Time but evidently that’s too much to ask in this age of infinite publishers. Hopefully some more folks will step up here and offer up contrary testimony to reveal this write-up for the baseless and unfair blather it is.

Comment on by Wolves at the Gilded Balloon | Matthew at the Edinburgh Fringe Festival

Wolves at the Gilded Balloon | Matthew at the Edinburgh Fringe Festival — Sun, 29 Aug 2010 00:35:48 +0000

[...] Wolf was interactive theatre in the Caves, looking at the reintroduction of wolves into the wild, along with how we envisage wolves in popular culture and fairy tales. We stood throughout, the excellent cast weaving amongst us, sniffing, rubbing, investigating, as we were taken through various scenes of wolf activity, questioning how and whether we can live together. Special thanks to the lady in the audience who moved the red scarf from her to her boyfriend, sacrificing him to the wolves instead of herself; and happy birthday to the cast member who I met in the queue for Sadie Hasler what feels like a lifetime ago. Here’s a better written review. [...]