The Omen

So, I was walking along the first floor of the Ocean Terminal mall (not a huge, DAWN OF THE DEAD type mall, but a British mini-mall, or mall-ette, if you will) which looks like so:

Chopping Mall

You can just see the sort-of-bridge that crosses the central expanse at the back, right? Well, as I walked under that, I looked up and saw three identical boys, about nine, identically dressed, resting their arms on the hand rail. They looked a bit like the banjo-boy in DELIVERANCE who appears on a bridge as a portentous warning of the carnage and anal malfeasance to come. They also looked like the three wise monkeys, just after the picture was taken.

WHAT IS GOING TO HAPPEN???

If they had appeared before we went to see FORGETTING SARAH MARSHALL we could have taken it as a warning and spent the afternoon doing something else. It’s not a terrible film, but there seems to reason to see it on a screen larger than the smallest person in it.

It’s sort of like having somebody riffle a flickbook of Hawaiian postcards at you while playing nice tunes (Dot Allison!) and telling you a few decent jokes. Enjoyable, but not exactly CINEMA.

Here is a more interesting bit of Edinburgh:

Close

That’s the beauty of this city, you get old and new nestling alongside each other, like ebony and ivory on the keyboard of some colossal stone piano full of drunks. Yet despite all this, the city is desperately under-represented on film.

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3 Responses to “The Omen”

  1. Chris B Says:

    >the city is desperately under-represented on film.

    Awaiting the arrival of David Cairns’s HAPPY-GO-LUCKY II: IN EDINBURGH.

  2. It’s definitely a FILM city, not digital, and I’m annoyed that I’m not likely to get to shoot it on film in the foreseeable.

    Leigh was in the Observer this weekend dissing Isabelle Adjani — “just not very bright.” At least she doesn’t look like a garden gnome.

  3. Chris B Says:

    >It’s definitely a FILM city, not digital, and I’m annoyed that I’m not likely to get to shoot it on film in the foreseeable.

    Can’t you go Super 16mm? (as Tom has for his new film) Film preserved with a heavy dose of grain you can control in post production. As far as I can tell, the highest res digital camera you can get at the mo is the Red/Cam 4k that Steven “overrated” Soderbegh used for films like TRAFFIC and the OCEANS Trilogy, whereas film itself is around 8k+… when digital reaches that level, it’s going to be very strange… Lynch can’t stand High Def which is why he shot INLAND EMPIRE on the same model camera that we used for that short I sent along! “Everything’s too clean with High Def”, I believe were his words.

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