Category Archives: technology

A force awakens… again

[WARNING – MANY, MANY SPOILERS]

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The film may have come out a year and a bit ago, but I’ve finally sat down to watch the Blu-Ray extras for Episode VII: The Force Awakens. Sure, I had to go to the ‘Deleted Scenes’ first (who wouldn’t?) but they don’t really lend much to what happened, and there’s no real nuggets in there, nothing that really (rightly) felt that it shouldn’t have been left on the floor. Because the film didn’t feel anything but lean. But the ‘Making Of’ was a really special viewing. I’m also not afraid to say I shed a tear watching the scenes with Carrie Fisher, both on set and off. It seems ever more tragic that she’s not going to be here to see how the universe develops in front of our eyes. A part of my childhood really did die when she left us.

The Read-Through alone sent shivers down the spine. Seeing Carrie, Harrison Ford and Mark Hammil in the same room, with Peter Mayhew, Anthony Edwards, talk through the words in that universe again… it still didn’t seem real. God knows what it must’ve been like being part of it. Because this is a film (no, not a movie) that I never thought would happen again. After the three ‘prequels’ that let down so many people of a certain age, I felt the stories had run their course. I’d never immersed myself that much in the books when I was a kid – sure, I read a few, but they never gripped me the way that first roll did on A New Hope – so for me, the films were the centre of all of it, and while I love the original trilogy (ok, I’m obsessed by it) and I still watch them regularly, I’d resigned myself to that being it. A sad, underwhelming and overblown successor that drowned in SFX, clunky dialog, toyshop characters and none of the real magic of the first three.

But of course, the last two years have proven how wrong I was. And as a 42-year old man, there should be something a bit sad about being so excited and overwhelmed by a couple of films, but then this is my youth, returning, and in a world that’s so grim, grimy, chaotic, unsure and angry, it’s no surprise that many of us are revelling in the escapism that such a vibrant, colourful and enticing universe that we all find so familiar gives us over the rest of reality.

There’s so much beautiful synergy between the old and new. And yes, some of that is a purposeful, heartstring-tugging intention to rope us olds back in, but it’s also such a reverence to the original films, because JJ Abrams gets that it’s a legacy, not just a money-making machine, churning out ever-decreasing chapters for the next decade. He was a fan himself when we were watching Empire as a small kid, he was a teen in LA, seeing the very same magic. So, where the old generation hand over to the new in The Force Awakens, it’s not just in front of the camera. Just looking at Nien Numb, who so memorably appeared in Jedi in the Falcon in the final battle of Endor, back as a pilot in the base on Yavin, or, even more sweetly, Warwick Davis, Wicket in Jedi, now returning (so much more known to many for Extras) as Wollivan alongside his yellow-headed monster daughter in the bar scene at Mas Kanta’s. It’s that incredible charm and character that’s indelibly inked onto the new films that makes you feel such a connection to them, where it wasn’t expected or assumed. There’s over a hundred creatures in VII, so many of them non-CGI, from the returning Gonk droids, to new pilots, musicians, bounty hunters.

That’s one of the greatest beauties of the  new trilogy so far is Abrams’ and the entire team’s willingness to only use CGI when there was no other means to achieve their ends. As many of us felt Lucas slowly diluting the rough-hewn charm of the original trilogy with needless new effects shots and reissues, leading to an almost shiny, blurred, CGI-laden set of prequels that fell into the era’s obsession with effects, the Force Awakens went back to what worked best: real models, characters, creatures, sets, effects, which felt so much more visceral and real. It always does, and it should be a lesson to filmmakers out there, that computer-generated SFX should be the point of last resort. Gareth Edwards showed that, more than anything with Monsters, a beautiful looking film made on a minuscule budget, whose effects were part of the tapestry, rather than the end-point of the whole fable.

I can’t even imagine what is must’ve been like being part of it, but there was something wonderful about how the younger actors – John Boyega especially – were so blown away by being on set, wanting a hug from Chewie, a walk through the Falcon. It says something that over 200 people were crowded onto the set when – for a day, they set aside a WHOLE DAY – when Han and Chewie get to utter the line that made a million adults squeal: “Chewie, we’re home.” It’s lovely to hear that, even as the film was being so meticulously made, pretty much the entire cast and crew were as excited as the rest of us were anticipating it, and watching it. And all of it soundtracked by John Williams, at 84 years old, still vital and perhaps one of the most important and iconic people in cinema today. Music that is as much part of our lives as Luke, Han, and Leia, but also Indiana Jones, ET, Jaws, Superman, Home Alone, Schindler’s List, Empire Of The Sun, Saving Private Ryan, Harry Potter, Lincoln and War Horse. Who else has been nominated for 50 Academy Awards?

The ILM work is still just incredible. Seeing so much referencing the original trilogy, whose effects were groundbreaking at the time, back against the new film is wonderful. The best CGI is the stuff that doesn’t look like it’s even there until you look, and for every shot that is obviously FX, there’s a bunch of stuff happening in the background that you don’t know is even unreal. And the new stuff: The Black X-Wing, the new TIE-Fighters, the updated Falcon, the Star Destroyer Graveyard, new Stormtroopers. Seeing them photograph the old 5ft model Falcon and take the little motifs the original model makers left (the ‘Drive Safely’ stickers!) and mapping them onto the ‘new’ Falcon so that the little details perpetuated into the new chapters. You’d have to know these details and watch it over and over, so it’s great to see that this is just ‘what had to be done’, even though many of us would never even spot what’s there. It’s just another example of the rich detail, thought and love that went into it all.

There are so many amazing insights into the making of the film. That JJ Abrams himself came up with the basic concept of BB-8. That Poe was going to be killed early on before they changed the story to keep him in. That Kylo Ren’s suit was going to be chrome (ugh) but when it was dumped it ended up as Captain Phasma. The fact that so many of the original crew from the first trilogy were part of the team that made The Force Awakens, in many cases using inspiration from the iconic Ralph McQuarrie, or the original designs, photos, and in one case, one son’s own inspiration from his father’s snowspeeder drawings in Empire. It felt like not just the handing on from one generation to another in front of and behind the camera, but really bringing so much of the history back together to ensure that the magic of the first trilogy was sprinkled all over the newest one. That may seem obvious, but it’s really the most important and intangible thing that, done wrong (especially overdone) would’ve seemed clumsy and too broadly brushed. They got it nailed.

As a film geek anyway, these behind-the-scenes things are catnip to me. It’s why I’ve started a Saturday that I couldn’t get back to sleep at 7am by thinking ‘I’ve been meaning to watch a bit of this for ages” and sitting here on the sofa for almost 3 hours gorging on the entire extras for the original Blu-Ray, feeling like a 6-year old kid again. But the mechanics of putting something so huge together is fascinating. I feel as excited watching this as I did watching grainy extras on the VHS tapes back in the mid-80s, or reading through the articles in the papers and magazines at the time. I wish I could take a weekend out and watch the whole lot from all of the films, but I’ve got packing to do!

Really, it’s an incredible thing to just immerse yourself in every now and then. I know that I’m a bit of an obsessive. How can you not be that excited about watching a universe unfold in front of your eyes that you first witnessed as a small boy (I was barely even walking when the first came out) and want to dive back into that? It’s part of my lifetime. It always will be.

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Particle physics? Yes please.

Atlas Experiment

We’ve all watched it. Well, 5 million people have tuned in over the past weeks, and I’d thought that I’d never say that quantum physics had become the highlight of my week. But that’s where we are. And it’s bloody great.

Yes, the Wonders Of The Solar System has landed on Sunday nights, and all of a sudden we’ve got a scientist that’s cool, that doesn’t look like a teacher, and who can speak in ways that takes a ridiculously complex subject and talks about it in a way that anyone can understand. Professor Brian Cox has popped up on Horizon before, and he’s a regular contributor to Sean Keavney’s breakfast show on 6Music, and (seemingly trawled out at every turn) he was in D:ream, (and, much cooler, he was the scientific consultant on Sunshine), but the most important thing is that he’s been involved at CERN with the Atlas Experiment, he’s a Royal Society University Research Fellow in Manchester, specialising in Particle Physics.

Professor Brian Cox
The Wonders Of The Solar System

Those last three may not seem a reason to get excited (though for a geek like me it is) but when you watch the show, and marvel at its big ideas, you wonder why nothing like this has been on tv before. It’s simple really, physics doesn’t sell. We all love to look at slo-mos of tigers chasing antelopes as Sir David’s dulcet tones recount the glory of the natural world, but we’re not supposed to be enthralled by the ice on on Europa, or gasp at the height of Olympus Mons. But the genius of the program is that Cox has managed to take subject that seems as cold as the Artic, and make it as interesting as the first time you lit a bunsen burner at school.

The laconic Lancastrian has put into terms that you and I can understand, just what links us to the planets in the Solar System, what parallels there are between volcanoes, canyons, ice sheets, and craters here, on Earth, and throughout our faraway neighbours. It’s jaw-droppingly fascinating, and delivered with the enthusiasm – and the beauty, from some incredible film and effects – of your favourite childhood teacher, and the result is, for me, a rekindling of a love for the cosmos that I had as a kid, that I obsessed over the Moon landings on when I was 14, that made me want to be an astronaut (didn’t we all) and that makes me want to dive back into this all headlong. Yes, when the LHC started warming up it came flooding back, the sheer geekery (and the insane numbers involved) brought out the inner nerd, but five hours of the best science tv in years is what’s got me wondering about relativity, anti-matter, solar flares, string theory and gravity.

I’m unashamedly a fan, and we need people like Cox. Science has taken a battering of late, and physics especially is something that brings blank looks across faces, but I never thought I’d be talking to people at work about Jupiter’s moons on a Monday morning, instead of the football. Sometimes, you just get dragged in, and I’m even excited about reading his book. On the theory of relativity. With equations in it (oh god, not my AO Level Maths again). If even 1 kid for every 50 that watched this gets hooked on physics and the universe then it’s probably done more good in just over a month than hundreds of teachers could, and that’s reason enough to get excited. Yes, you could argue that Cox’s public profile, his Twitter account and work on the BBC could dilute his study, but when it’s bringing science to so many, then it’s worth every effort.

I just wish there was another five shows to take me into May.

Genius, or just hard work?

You’ve either heard of Malcolm Gladwell or not. If you have, you’d already know he’s one of the foremost thinkers of the 21st century. If not, then you’ve probably heard of his books before him – Blink, and The Tipping Point – recent zeitgeist grabbers, for some even modern day bibles on the structure of success or society, but in a new book, he attempts to look at why people have been successes, why we see their names in history and not others. And why it’s more where you’re from than where you’re at.

In his new book, Outliers, an extract from which was in the Guardian this Saturday, he argues that genius may not be so mythical or genetic as we’ve always assumed. That basic but profound skill or intelligence is converted to superhuman levels through simply a threshold of hard work, putting in the hours, the yards, that the likes of Bill Gates, http://en.wikipedia.org/wiki/Steve_jobs, Bill Joy, Paul Allen, as well as Mozart, The Beatles, even ice hockey players have all taken their gifts and converted them to the level of genius by sticking to their guns while others have fallen behind. Yes, they may have had timing, some luck to be in the right place at the right time, but there is less of a mysticism to their rare talents.

Does he have a point? But before we jump to the conclusion, it’s not like we all have that within us. These people were within a certain time (be it the birth of the personal computer, in Gates, Jobs et al’s case) but took the best advantage of their situations and worked for their place in history. Can it be that simple? Who are we to argue with a brain like Gladwell? Was he the right man in the right place at the right time? Why would he succeed and others fail to reach potential? Can it really be hard work? (or could it be, perhaps, that they’re all men?)

Or is it simply such a set of factors that place them, one of many dedicated, hardworking, intelligent dwellers of the top of the pyramid, where they were, and that genius is as much fate as anything? I won’t be doing anything but guessing, it’s clear that I was not….

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