“Just because you want it doesn’t mean it can happen.”

DIRECTOR(S): James Franco / Tommy Wiseau 

WRITERS: Screenplay by Scott Neustadter & Michael H. Weber (Based on: The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made by Greg Sestero & Tom Bissell

CAST: James Franco, Dave Franco, Seth Rogen, Ari Graynor, Jackie Weaver, Alison Brie, Hannibal Buress etc.



I’d never seen the cult “bad” movie, The Room (2003). I’d seen clips on YouTube of actor, producer and director, Tommy Wiseau’s magnum opus drama, and not only found it excruciatingly painful to watch but, like a car crash I couldn’t take my eyes of it, transfixed at the creative carnage on show. From the initial limited release in 2003, The Room has subsequently become celebrated as a paean to bad filmmaking as armies of hipsters and millennials laugh and quote-along to agonising performances and dialogue on the silver screen. Even during the showing of The Disaster Artist (2017) I was at, a couple of audience members quoted along to some of fantastically simulated scenes from The Room.


Films within films and the movie-making process have provided, down the years, a rich vein of comedic and dramatic output from: Singing in the Rain (1952), Living in Oblivion (1995), The Player (1992), State and Main (2000); plus, the film The Disaster Artist most reminds me of, Tim Burton’s glorious tribute to the hopeless, yet determined, director called Ed Wood (1994).  Structured around two struggling actors in Tommy Wiseau and Gregg Sestero this hilariously skewed yet somehow likeable buddy movie is propelled by the Franco brothers’ brilliant performances as European eccentric Wiseau and the younger, naïve, and ever-smiling Sestero.

Wiseau’s character is an actors’ gift as he exists in some delusional yet over-confident Neverland. We do not know Wiseau’s age, background and how he managed to become so wealthy, yet Sestero is drawn to his outrageously up-to-eleven acting performance during a class, and the two soon become inseparable. Moving to Hollywood they valiantly try to make it as actors and the film lurches from one desperately funny scene to another. Despite their apparent lack of ability they won’t be deterred and decide if Hollywood won’t come to them then they will come to Hollywood. They will make their own movie!


Here The Disaster Artist really becomes a wonderful comedy of filmmaking flaws as we get scene after scene where all manner of rookie errors are committed by Wiseau. James Franco really excels as Wiseau; as the production is clearly beyond him his deluded power and determination will not yield, despite run-ins with the script supervisor (Seth Rogen) and various cast members who have no idea what the hell The Room is about. Here the story becomes compelling as Wiseau’s mania and lack of discipline flies in the face of established filmmaking conventions. During the making of the The Room, Wiseau is genuinely funny, monstrous, and yet somehow sympathetic. He is a true outsider’s outsider; he is a bona fide Hollywood version of Frankenstein’s monster.


James Franco has an odd career trajectory and has kind of stamped himself as a scattergun jack-of-all-trades, giving impressive performances in such films as: Spiderman (2002), 127 Hours (2010) and Rise of the Planet of the Apes (2011); but also starring in some haphazard comedies of which the hilarious This is the End (2013) was the best. Amidst his prodigious work ethic he has also produced some turkeys (i.e. Your Highness (2011); as well as pretentious adaptations of literary classics by William Faulkner. If pushed I would say that his faithful recreation of the cult of Wiseau is his greatest performance to date. The fact he directed the film too is also remarkable as he got the pitch of parody and drama just perfectly.


Meta-textually, comedically and entertainment-wise this film is a highly satisfying cinematic experience. As the credits roll the sequence which compares scenes from The Room and Franco’s faithful simulacrum is a joy to behold. I can certainly recommend The Disaster Artist to anyone who enjoys seeing massive fails in the creative process of filmmaking. Having said that though this is a film which also pays tribute to the deluded fools trying to make it in Hollywood. I mean, however impossible it may seem Wiseau and Sestero, refuse to buckle in light of insurmountable odds. Their reward is one of the worst films ever made in The Room; but paradoxically it is a success as it has given so much joy to people at the same time. It’s this joie de vivre that the Franco’s bring forth and the underlying message is that without friendship, dreams and hopes you are nothing in Hollywood or life.

Mark: 9 out of 11




DIRECTOR:            Matt Spicer 

WRITERS:              Matt Spicer, David Branson-Smith

CAST:                    Aubrey Plaza, Elizabeth Olsen, Billy Magnussen, O’Shea Jackson Jr., Wyatt Russell, Pom Klementieff,



Grief is something which we will, or have already experienced, and given the dramatic possibilities, death and overcoming the death of a loved one propels many narratives in the cinema, literature and music etc. Ingrid Knows Best is one such narrative and while much is made of the plague that is social media and Instagram culture, this is ultimately a story of how our anti-hero deals with the loss of her mother and, in some ways, her own identity. In short: she doesn’t handle it very well, but rather disassociates her grief and fixates on so-called on-line celebrities in order to distract herself and escape the pain.

Aubrey Plaza is brilliant as Ingrid and she is fast becoming one of my favourite actors. I loved her in Office-influenced sitcom, Parks and Recreation and the brilliant lo-fi-sci-fi-rom-com Safety Not Guaranteed (2012). However, in this film and the mind-bending science fiction series Legion (2017), she completely owns the show. Plaza has a rare skill for vulnerable insanity where she does crazy stuff but at the same time you really empathise with her character.

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In the opening scene she commits an act of pretty despicable revenge but once you see her living arrangements and family situation you really gain understanding of her character.  Even when Ingrid heads west and begins stalking her next obsession, Plaza’s doe-eyed-butter-wouldn’t-melt façade and crumbling inner humanity ensure you never lose empathy for her. The writing is excellent as the script creates humour, drama and skilful satire of the facile, narcissistic and selfie-obsessed culture we live in today. Elizabeth Olsen too is impressive as the “Instagram Queen” and object of Ingrid’s obsession.

Overall, this was just #brilliant #dark #funny #sad!  I was really satisfied with this film and while the slightly off-kilter crime-plot-turn near the end slightly unhinged the character study, the touching and thematically perfect ending was a brilliant pay-off for Ingrid’s character. Plaza though is the shining light of the film as she imbues Ingrid with not only the pathos of a zeitgeist Travis Bickle, but also a comedic mania which really brings the satire home.

(Mark: 9 out of 11)




Sergio Leone’s sprawling, violent, elegiac and epic gangster film is rarely on television but always deserves a re-watch every few years. It revolves around the lives of young gang of Jewish friends growing up in 1920s Brooklyn called: Noodles, Max, Patsy, Cockeye and little Dominic. It contains majestic story-telling of the highest quality as the story is structured around past, present and possible future, with Robert DeNiro’s older Noodles reminiscing and projecting from the hazy and drug-addled glow of opium den. The film acts as a history of childhood friendships and includes themes relating to: love, lust, greed, betrayal, loss, broken relationships; as well as focusing on the rise of mobsters in American society.


As a father myself it is a very noticeable trajectory seeing one’s son grow up from a small child to an adult and witnessing the changes in character as he becomes a man. The single most significant thing for me is that loss of innocence, not so much in regard to a child becoming a bad person, but that light which seems to drift away from a young person when they become a teenager. Once Upon A Time in America is a brilliant film in dealing with the collision between young innocence and adult corruption by external society and natural changes.


One such scene which perfectly encapsulates such a loss of innocence occurs when young Patsy (Brian Bloom) buys a cream cake with the desire to lose his virginity to a local girl. He buys the cake, sits on the stairs waiting for her to get ready and looks at the cake. Ennio Morricone’s beautiful score resonates as Patsy is tempted by the cake. He fingers at the cream just once, then again and then all thought of sexual temptation is removed by the desire for cake. In the end he eats the whole cake and scrams when the girl opens the door. Such a classic scene stands as a beautiful and touching moment amidst all the death and violence throughout. For that moment Patsy’s innocence remains intact yet we know that, in this violent, ugly world of: men, gangsters, guns, crime, crooked cops and prohibition it will not last forever.







As you may or may not know I make short films. I have been involved in a number of short film productions and promos over the years. My work can be found at I usually work with the ultra-talented director, writer, producer, editor, special effects whizz and Star Trek expert, Gary O’Brien. Our working relationship is still going strong and our last collaboration Chance Encounter (2016) has now over 46,000 views on YouTube, so we’re happy with that. We are also planning a new Star Trek film currently called The Holy Core but you can check out Chance Encounter on this website:

In between this though I decided, foolishly given my lack of directorial experience, to make my own short film from scratch. So, I have written, produced, catered, and now directed a low-budget ghost story called Flatmates. One of my creative aims for 2017 to was make my own film, and subject to the post-production process I have now achieved that. It will be edited and released in 2018 and sent to film festivals all over for consideration and screenings (hopefully). Will it be any good? Who knows? I will let those who watch it decide. What I do know is that I assembled a crack team of amazing talent and I thank them all for their sterling efforts.

We filmed the short script on the 30th November 2017, having also had an acting rehearsal day in October 2017 too. What I realised is that filmmaking and specifically directing is fucking difficult. I am much more at home writing and producing and making sandwiches. Co-ordinating the actors, crew and my ideas while directing performance was a steep learning curve and it made me admire the many filmmakers and their films I have watched over the years. Because put simply making movies is tough!  However, thanks to the talented cast and crew who worked tirelessly I am confident I have a little film that tells an interesting story.

What I did learn is that to make a decent film you need a committed cast and crew; a good script; a bit of money to pay people and feed them; and above all else – YOU NEED TIME!  I tried to do too much in one day and if the film is not as good as it could have been then it is not down to lack of talent and effort but down to not shooting over two days. I think this film will still be an atmospheric and scary horror story but the next short I plan to make will probably be planned even more. Indeed, while I planned Flatmates to hell, a two day shoot, rather than one, could have potentially enhanced the production.

Anyway, I would personally like to thank the following people for assisting in the production and certainly recommend their skills as actors and crew-members. Click on their names for their links / websites too.


ACTOR                       ROLE

MEL GAYLE              LISA DUNBAR           

GEORGIA KERR      SARAH           

TILDE JENSEN         INGRID           



NAME                                     DEPT.


EDWARD LOMAS               D.O.P / CAMERA

KATO MURPHY                    GAFFER  / LIGHTING

GARY O’BRIEN                     EDITOR / POST

BEN PENDREY                      ASS’T. DIRECTOR

ANGIE WHITE                      MAKE-UP



Overall, Flatmates is my first proper directorial production and as an independent filmmaker it is pleasing to have ventured into such a positive creative experience. I certainly look forward to learning from the decision process and fully expect to get better and better the more productions I make. I am now logging the images and sound and prepping for the edit where Gary will then work his magic for the post-production process.


Flatmates – written and directed by Paul Laight – will be released in 2018





Six months ago I was reading a physical book of Joseph Heller’s Catch 22 and I was just not feeling it. Not the actual book as it is a classic novel of our time but the actual activity of reading itself. I just did not want to read anymore. Of course, I can do it but my mind just didn’t have the desire or energy. What did this mean?

Had I been dumbed down and rendered attention deficient by virtue of the constant viewing of films, TV and the barrage of internet viewing. Perhaps my brain had been become punch-drunk and distorted my mind, like an over-the-hill boxer who’d just had one too many fights. It was confusing. I’ve always loved reading and did not want to stop.

So, I thought why not try out the Audio-book route?  What’s the worst that could happen?  I could LISTEN to someone reading the book to me and experience the literature from an aural perspective. I have to be honest – I’m glad I did! Because I have been listening to a number of audio-book productions and they have been very rewarding from all manner of dramatic, artistic, comical and emotional directions. Moreover, I listen to these books while walking and at the gym so my “reading” has become a very pleasing mobile pursuit.

Anyhow, here are some reviews of the books I have been listening to over the past months. If you also listen to audiobooks please feel free to suggest any good “reads” or narrations.


BACK STORY – DAVID MITCHELL (narrated by David Mitchell)

Comedian, actor, panel-show humourist and writer David Mitchell takes us on a literal walk of London landmarks and streets, while also wandering down his own personal memory lanes and avenues. Pedantic, neurotic, angry and insightful in equal measures this is an entertaining and intelligent journey full of hilarious rants and stories relating to Mitchell’s life; one which is blighted, not by personal tragedy, but rather a very painful bad back. His narration too is very funny and listening to him speak is like having your very own personal version of the brilliant comedy show Peep Show in your head.  I especially, from a creative point-of-view, enjoyed his analysis of comedy past, present and the actualities of writing sketches, jokes and performing too.


CATCH 22 – JOSEPH HELLER (narrated by Trevor White)

The novel which began my whole diversification into the audiobook territories is a startling anti-war character drama full of tragedy and black comedy, highlighting the folly of humanity during conflict. I was both laughing out loud and crying inside as Heller’s seminal work crashes us into the heart of madness during World War II. Featuring any number of crazed pilots either being killed or trying not to be killed while flying over Italy, this novel expertly takes you up and down and up and down. Heller does this with a meticulously acute writing style and via characters such as the wonderfully named: Yossarian, Milo Minderbinder, Doc Daneeka, Snowden, Nately, Nurse Cramer, Captain Aardvark, Colonel Cathcart and many more lunatics. This is a sprawling insane war-set epic which satirizes and laments the folly and destructive behaviour of mankind, and is all the more relevant today because we still can’t fucking learn to stop killing each other over ridiculous things like money, land, God and love.

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Dick’s classic science-fiction novel is better known now as Blade Runner and the film versions are incredibly stylish and powerful genre works. Yet, Scott Brick’s narration of Dick’s source novel is absolutely perfect in its rendition, creating a haunting pathos beyond that featured in the film. The story covers one day in the life of Rick Deckard – an “Andy” or android bounty hunter who must track down a series of superior robots of the Nexus Six variety. The original Blade Runner (1982) film did well to distil and simplify the narrative but it only touched the sides where the complex themes are concerned. The novel is far more involved with subtext relating to: simulations; animal husbandry; Artificial Intelligence; Virtual-reality religious fervour; and the existential pain or humans and robots, being explored within the rotting dystopic, Earth setting.

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GAME OF THRONES – GEORGE R.R. MARTIN (narrated by Roy Dotrice)

George R. R. Martin’s North-versus-South-Westerosian fantasy epic has provided hours of entertainment via HBO’s massive hit TV adaptation. The original source novel is a literary monster of a book with an over 33 hours running time, so kudos to the talented, yet ageing actor, Roy Dotrice for staying alive during the recording and finding the energy to narrate it. If you don’t know the Game of Thrones TV show, it has become an iconic narrative of Starks versus Lannister’s versus Targaryen’s versus zombies versus dragons and all manner of: lords, ladies, monsters, whores, hordes, henchmen, sorcerers, warriors, Kings, Queens and peasant scum; all fighting and spitting hate at each other for a baying public’s bloodthirsty satisfaction.

The book, of which Game of Thrones is based, is an intricately plotted, brilliantly characterised and action-packed joy. Not for the faint-hearted it is explicit from a violence and erotic perspective and Martin’s writing is believable unbelievability of the highest order. While it may be fantastic in regard to many of the concepts it is grounded in a raw and human reality as the flawed characters conflict with each other in all manner of familial jousting, hearty battling and political chicanery. The book has all the greatest qualities of the television show and much more besides and well worth the many hours it took me to “read”.

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HOW NOT TO BE A BOY – ROBERT WEBB (narrated by Robert Webb)

The other half of the Mitchell and Webb double-act, Robert, narrates his own story with an adept sarcasm, intelligence and over-riding sense of grief throughout. As a big fan of Peepshow, his brilliance as an actor is playing unlikeable-selfish-man-boys with devilish charisma. He’s obviously very funny too and his anecdotes and memories of growing up in a Lincolnshire town and overcoming family heartache before joining the so-called Cambridge academic elite are very honest and personable. I would have liked a bit more detail about his creative process but reading between the lines I felt that it all came very naturally and unpretentiously to Webb. Overall, this is a terrific listen, full of funny and tragic moments; plus given I’m the same age as Webb, his references to televisual, pop, film and comedy culture were immediately recognisable to me, only adding to the book’s enjoyment.

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Steve Coogan’s genius comedy creation Alan Partridge has been part of my life since the 1990s when I first saw him on the brilliant satire show The Day Today. There he presented the sports and would subsequently go on to a kind of greatness as a chat show host on Knowing Me, Knowing You and starring in one of the best sitcoms of all time, I’m Alan Partridge. It is a testament to the acting ability, quality of writing and sheer stamina of Coogan that he continues to mine comedy gold from the hills of Partridge, as it were. Coogan narrates (in the glorious character of Partridge) a fictional autobiography from actual cradle to career grave. It also hilariously covers how he bounced back from the precipice of a chocolate-driven-frenzied-nervous-breakdown-suicide-attempt in Dundee. I have never laughed so much as six hours of comedic gold entered my brain and left me in stitches throughout. This is one of the funniest things I have had the pleasure to listen too; full of bitter rants, vengeful asides, over-elaborate similes and a litany of what I can only call Partridgeisms! Is that a word: well it is now!

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