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Day: 28 November 2012

Live: Crystal Castles

28th November 2012

6/10

Crystal Castles are an enormously difficult outfit to make sense of. They present themselves as embodiments of their own take on the punk aesthetic, but play the 2500 capacity Academy 1 tonight as part of a tour of similarly-sized venues that is seeing them perform, not for the first time, to a mixture of posers  and Topshop-attired indie kids who look about as likely to incite genuine anarchy as the Women’s Institute. They project an apparent disdain for publicity that, given their frequent appearances in the NME, is surely disingenuous. And the three records they’ve released to date, all solid efforts that occasionally sparkle with brilliance, have often proved little more than an afterthought in the public consciousness when compared to their typically-frenetic live shows.

The Crystal Castles live experience is considerably less raw these days, at least in terms of Alice Glass’ crowd interaction; she certainly gets involved tonight, but she seems more interested in crowd surfing and sharing the mic than starting a fight with literally anyone who’s interested. Way back in the heady days of 2008, Glass’ appetite for pseudo-violent confrontations with the crowd and, often, the security often spilled over into the crowd and made their shows at least notorious enough for the NME to view them as the band to preserve the publication’s punk credentials – you might remember that they spent most of the rest of 2008 forcing Glasvegas and  Mystery Jets onto anyone who’d listen. To their credit, though, Glass and perma-hooded beat-provider Ethan Kath have acknowledged the decline in intensity and attempted to offset it with by making the evening into less of a concert and more a fearsome, multi-sensory assault probably best avoided by those of a nervous disposition.

The decibel level has been cracked up considerably, every beat now designed to batter the eardrums, but for the most part it’s an improvement, especially in terms of Glass’ vocals; in the past, they were too often too quiet, drowned in Kath’s sea of synth, or too heavily distorted, but tonight the shrieks are crisp throughout the likes of ‘Alice Practice’ and ‘Baptism’, and her more sedate, melodic delivery on ‘Celestica’ cuts through equally strongly. The light show is totally blistering, with strobes of such severity that any sound man brave enough to tour with the band is obviously willing to part with his corneas.

The problem, though, is that when the evening’s calmer, more pensive moments arrive, they serve only to lend the set a disjointed feel. We already know that Crystal Castles are capable of quieter, reflective moments, but the likes of ‘Sad Eyes’ and ‘Empathy’, whilst not perhaps as out of place as they might have been a few years ago, still don’t sit comfortably alongside the barrage of noise that the rest of the set represents. We’re watching a band in transition – not the riot-inciters they once were, but, onstage at least, not yet the versatile unit that their records present, either.

Review: Fraser Chapman at the Cornerhouse

Even from across the street, through the rain, and between the buses, it’s quite easy to see the first series of work by the Cornerhouse’s newest ‘Projects’ exhibitionist – Fraser Chapman.

On the ground floor, a collection of five globe-like paintings demand attention with their large size and varicoloured composition. At first glance, it’s difficult to know what it is we’re looking at – my first guesses ranged from microscopic views of germs to worrisomely active weather maps.

The Manchester-based artist’s paintings are actually, as described by Cornerhouse, “accurate depictions of the geological makeup of the lunar surface.” Far-out man! From the near side to the far side, each area of the moon is illustrated in a paint-by-the-numbers fashion. Whether the paintings have a meaning or purpose that extends beyond exploring the aesthetic potential of geologic maps is for Chapman to know and for us to decide. Either way, they’re worth seeing as a beyond-earth warmup before heading upstairs where David Shrigley’s exhibit will turn your world upside down.

On the first floor, in the back area of the Cornerhouse café, can be found Chapman’s second series. You’ll have to make your way through bustling tables of chatty, cultured types drinking their wine, scribbling in their notebooks, and excitedly discussing their newest ideas, but that’s part of the fun.

In this second series, Chapman channels his inner-Marcel Duchamp by imaginatively repurposing a set of found, mass-produced canvases. In the first two paintings, Still Life #1 and Still Life #2, the figures are reduced to silhouettes while the setting remains untouched — allowing us to reinterpret scenes originally depicted by masterful painters such as Pierre-Auguste Renoir.

The majority of the remaining pieces are covered almost entirely in white emulsion — leaving only one or two subjects untouched. By placing a dense fog around the remaining figures, they become the focal point of our understanding of the scene. We are left to imagine the setting and, perhaps, realise our frustration with concealed information.

Fraser Chapman has more than a just a cool name – he has the honour of displaying his work at the Cornerhouse and you should go check it out.

The race for Christmas Number One

As the tinsel begins to come out and the first doors on advent calendars across the country are opened – not forgetting that list of forgotten family friends who you still write a card to, despite not seeing them for years – it can only mean one thing; Christmas is well and truly on its way. And with the festive season comes the annual race to see who can take the coveted Christmas Number 1 spot in the singles charts. But is it still the serious contest that it once was, or do we really care who tops the charts this Yuletide?

Plenty has changed in terms of the race for the number one spot, as compared to the past. Firstly, if you turn the clocks back thirty years or so, the build up, the waiting and the anticipation for which song would make it to the top put this announcement on a par with the Queen’s speech, in terms of importance on Christmas Day. Artists rallied hard on limited resources to promote their song and push it to number one purely for the prestige and honour of being the nation’s favourite song, not solely for the money and publicity it would provide them, as is the case with many artists in this day and age.

However, 2012 proves significant in the context of the battle to chart success at Christmas, marking the end of a decade which has seen a reality television revolution, led by the grinch himself, Mr. Simon Cowell. Since 2002, six out of the last ten Christmas number ones have been held by the winner of Cowell’s competitions (seven if you count Little Mix’s attempt in 2011 until they were replaced, later on Christmas Day, by The Military Wives). It was a period of musical ennui that continued unbroken until 2009 saw the successful Facebook campaign that placed the decidedly-unfestive Rage Against the Machine top of the heap. Yet even before the days of The X Factor and Pop Idol, there was an ongoing change in trend as to what the Great British public went out and bought during the eighties and nineties. We seemed to wave goodbye to any future possibility of a festive number one, and in the process we glorified the highly dubious likes of  Mr Blobby, Bob The Builder and Brian Harvey’s four piece East 17.

Early rumours have suggested that The X Factor are set to bow out of the traditional battle for the Christmas number one, after what has been a disappointing series for Cowell and co. The Hillsborough justice campaign’s charity effort and Girls Aloud’s comeback track are both contenders, but the odds-on favourite this year hints at a long-sought return to tradition – the twenty-fifth anniversary re-release of The Pogues’ ‘Fairytale of New York’. If the evergreen Irish rockers can pull it off, it’d make for a refreshing move away from charity songs and reality show releases, and back towards a bit of festive convention – it can only be a good thing.

 

Book Club special: Best books of 2012

When Book Club asked friends, readers, contributors for their favourite book of the year, we opened the floor not just to books released in 2012 but any book you might have read this year – not because there was a shortage of great books released this year (not that at all), but because with the millions of wonderful books written every year other than 2012 why would you ever confine your reading list to only the latest releases? So take a look at our admittedly subjective and far from comprehensive (aren’t all book lists?) Best of 2012, and get compiling your 2013 must-reads:

Joelle Jefferis, 20, social anthropology, Game of Thrones (1996), or A Song of Ice and Fire series by George RR Martin
Epic in length and epic in nature. The TV adaption can never match this brilliant fantasy series, George RR Martin has probably created a more complete world than the one I am meant to be inhabiting in the daytime, and, even better, his world has got dragons.

Agnes Chambre, 20, philosophy: The City’s Son by Tom Pollock, (2012)
A debut fantasy novel that came out earlier this year to some impressive acclaim. I’m not an avid fantasy reader (obviously excepting Harry Potter) but the story’s familiar London setting, captured perfectly by the author, draws you in and grounds fantastical riffs on the grind of city living.

Will Westerman, 20, philosophy: East of Eden by John Steinbeck, (1952)
The subtlety and delicacy with which Steinbeck sculpts new depths for his characters, both in strengths and often fatal weaknesses, is something that makes you marvel in wonder at a man so honed in his craft. A staggering feat of grandiose imagination allegorical and yet so utterly pertinent to the everyday lives we live as people; a book which should be deemed essential reading for anyone who seeks an understanding of what it is to be human.

Phoebe Chambre, 23, music student and Books editor: a two-way tie between Hot Pink by Adam Levin (2012) and The Pale King by David Foster Wallace (2011)
This was a really tough decision (and I also want to name-check Your Voice in My Head by Emma Forrest (2011) and No One Belongs Here More Than You by Miranda July (2007) both of which you should read), but I have to include The Pale King, the incomplete posthumously published novel by David Foster Wallace which I got around to reading this year, as it’s the last work we have from the author after his tragic, unexpected death in 2008 – the last piece in an incomplete puzzle. Whilst it is by no means my favourite DFW book it is still heads and heads and shoulders and shoulders above most (any) other thing that you might read. And Hot Pink actually came out this year, the first thing I had read by Adam Levin; a beautiful book that I read almost whole.

Phillipa Moran, 19, social anthropology, The Other Hand by Chris Cleave, (2008)
Something in the blurb drew me to this book – that it didn’t fulfil its usual function of describing the novel intrigued me. It just said “Once you’ve read it, you’ll want to tell your friends about it. When you do, please don’t tell them what happens either. The magic is in how it unfolds”. So I can’t go into great detail, but I can tell you that it is one of the most beautiful and heartbreaking stories I’ve read in a while. It will definitely make you think differently about certain things…

You Say: What’s wrong with a fantasy?

With the new wave of feminism trickling in to almost every article and TV program I’ve seen recently, I noticed that men seem to be getting a lot of stick about the effect that porn has on them. It’s often claimed that it encourages them to treat women in degrading manners and to have false expectations about what ‘real’ women are like in bed. I’m not here to argue whether this is true or not (although the amount of ‘happy couples’ around seems to suggest that it must be a slight exaggeration). Instead, I want to point out that, as a result of watching too many romantic films, girls can have deluded expectations of men in just the same way.

Take the classic romance in ‘The Notebook’; the guy waits for her for seven years, writes to her every day for a year with no reply and still manages to profess his undying love whilst she is considering marrying someone else. What guy would ever do that? Films like this encourage us to think it’s legitimate to complain about the fact that your boyfriend isn’t perfect. They give us false expectations of men as fully co-operative, eternally understanding and unerringly devoted specimens. But they’re just not (sorry guys) and I think that most of us know this perfectly well. So when writers claim that men’s expectations of women are born out of porn, I think they really underestimate men. Can’t we give them a little more credit? I’m sure they can tell the difference between a porn star and their girlfriend (and if they can’t they probably won’t have a girlfriend for much longer) just as we can tell the difference between Edward Cullen and a real man.

So while you’re wondering why he doesn’t say ‘I love you’ with as much ardor as Jack does to Rose while the Titanic is plunging into the abyss, he might be wondering why you don’t think putting your legs behind your head is a comfortable position. But most probably we’ll both know that these are fantasies and what’s wrong with a fantasy? I say we should indulge our fantasies. So girls, let’s go and watch the new James Bond film and complain about the fact that no boys we know look, speak, act and most probably make love quite as well as Daniel Craig. And boys, while we’re out you can all go and watch some good healthy porn.

TOP 10 Films of 2012

From innocent young love to superhero destruction. From hitmen of the future to operatives of the past. From post-war America, through the troubled-eyes of veterans to the wide-eyes of restless youth. Hollywood gave us a year of refreshing contrast, and though it’s not over yet, myself and The Mancunion Film Section contributors have painstakingly devised for you the definitive, indisputable list of the best films of the 2012.*

10. Twilight Saga: Breaking Dawn Part 2

It does pain me to include this but I suppose if you are an unfortunate enough soul to be captivated by the Twilight saga, this final conclusion (thank the lord), I am sure proved a fitting and emotionally satisfying climax. My co-Film Editor Sophie James does assure me that it is an engrossing tale of love, light and redemption…drenched in a thick cheesy sentiment that will leave your arteries begging for mercy.

9. On The Road

A rather diversely received film, many argued that Kerouac’s streams of consciousness, by nature, could not be put to film. While this may well be true I feel Walter Salles delivers an authentic and faithful production of this iconic novel of the 20th century. All the more enriched by a great ensemble cast, most especially in Viggo Mortensen’s Old Bull Lee and Garrett Hedlund who commendably grasped the enigmatic legend of Dean Moriarty.

8. Avengers

Joss Whedon achieved the seemingly impossible with Avengers. He not only managed to meld a bunch of blockbuster characters into a coherent film but actually made it a damn good one at that. Spectacular action was expected, and achieved, but the real star of the show was Whedon’s zippy dialogue. This is what made Avengers not only the best action film of the year but also one of the funniest.  Dylan Wiggan

7. Amour

Far more than a token ‘foreign’ film to add colour to this Hollywood-heavy list (though it certainly serves such purpose) Amour is a engrossing tale of the twilight years of a elderly Parisian couple. Poignant and an unflinching in the face of its rather tender subject matter, Director Michael Haneke creates an engrossing story out of the bleak end which awaits us all.

6. Argo

Argo is Affleck’s third film as a director, and definitely his finest. It follows the so-ridiculous-you- can-barely-believe-it true story of how the CIA created a fake Sci-Fi film, Argo, in order to get escapees past Iranian border control. Yet this film is no ordinary hostage story. Argo takes a slower pace than your typical Hollywood heist, helping to build it to a conclusion of almost unbearable tension, whilst being interjected with moments of comic brilliance in the form of Alan Arkin and John Goodman. The result, a highly engrossing political thriller. Rebecca Williams

5.The Master

Sometimes baffling but always compelling, Paul Thomas Anderson’s follow up to There Will Be Blood is not the contentious Scientology critique that was predicted. Instead, it is so much more – a woozy, disorientating and brilliant exploration of post-war America and the nature of faith. Joaquin Phoenix puts in a magnetic performance as a WWII vet whose frenetic life often resembles a fever dream, and who finds a possible kindred spirit in Philip Seymour Hoffman’s titular Master. A film you itch to re-watch from the moment the end credits roll. Alex Larkinson

4. Searching for Sugarman

Documentary filmmaking at its best, Director Malik Bendjelloul delves into the shrouded history of folk artist Rodriguez who fell tragically short of the American Dream, but whose music found an unexpected home in apartheid South Africa. Beautiful and compelling with a wonderful twist, Sugarman is a delightful reminder that a big budget is by no means necessary to create a highly entertaining and engrossing film.

3. The Dark Knight Rises

Christopher Nolan’s follow up to The Dark Knight may not have eclipsed its predecessor but it was confirmation of Nolan’s brilliance in reinventing Batman into a more dark and sophisticated series of films. Heath Ledger’s presence is sorely missed but that does not take away from the adrenaline filled spectacle Nolan gives his audience. A fitting conclusion to the indisputable king of the Batman sagas. Joshua Brown

2. Skyfall

Skyfall went far, far beyond most expectations. We were treated to a plethora of memorable performances, most notably of all by Dame Judi Dench, who provided us with a handkerchief-soaking au revoir and re-instated our belief that Bond has the power to move. Daniel Craig has won us over, and stood out alongside his on-screen nemesis Javier Bardem in some enthralling action sequences and chilling verbal exchanges. Roll on the next installment!  Alex Morrison

1. Moonrise Kingdom

Quirky. Whimsical. Offbeat. All words which could describe the latest offering from Wes Anderson. Yet it would be a disservice to a film which has more heart that quirk, more wit than whimsy, and is offbeat in a way that makes this tale of young love and adventure thoroughly refreshing. The supporting cast, including Bruce Willis, Ed Norton and Tilda Swinton, are all great, but it is the two child leads who really impress, and who make Moonrise Kingdom quite possibly the funniest and most entertaining film of the year.  Alex Larkinson

*list based largely on hearsay, conjecture and deeply biased views

Top 5 books you wouldn’t want to be seen reading on the Magic Bus

Books are for everyone and the vast variety of genres reflects the diversity of humankind. At the Books section we understand it takes all shapes, sizes and fonts to make a library, but the person sitting next to you on the bus may not be so forgiving. Here are a few books that may be better enjoyed in the comfort of your own home, if you want to avoid strange looks and backseat judgement:

1. 50 Shades of Grey – E. L. James (2011)
The controversy factor of this book has been more than well-documented; its popularity was the best advertisement Kindles ever had. Amazon should pay royalties. Everyone knows why you’re reading this, and it’s not for the quality of the writing. Whipping out 50 Shades may seem like the perfect antidote to a hard day of lectures but, even if you can take the vicarious blushing, remember it’s not that dissimilar from the guy next to you pulling out Nuts.

2. Once More with Feeling – Victoria Coren and Charlie Skelton (2002)
Less well known than 50 Shades, it is not the title that triggers associations with this book, but the cover. It is an account of the authors’ attempt to create their own porn film, and its cover displays a bold cartoon of a naked couple ‘frolicking’. Needless to say, Once More will garner more than a few raised eyebrows on the bus. It is a brave student who reads this book in public. Go on, we dare you.

3. Men are from Mars, Women are from Venus – John Gray (1992)
You’re having relationship troubles then? Reading self-help books like this ‘90s classic in public is the literary equivalent of changing your Facebook relationship status to “it’s complicated”.

4. Fantasy novels
By which I mean a Terry Pratchett cover stands out a mile. As a devout fantasist it hurts me to put this on the list but however much the media likes to tell us ‘geek chic’ is in, the endorsement does not extend to the reading material beyond the fake glasses. Be proud of the nerd status a Pratchett brands you with, or cower in the face of superficial stigmatism and read it on your Kindle.

5. Celebrity ‘auto’-biographies
Need we say more? These are basically just Heat or OK annuals. They may be styled and spray-tanned to look like books, but literature it is not.

Comic artists assemble

It began in March 2010 when some students posted a thread in the Manchester University Japanimation Society (MUJS) forum about finding like-minded people interested in the creation of comic art. What began as an enthusiastic group of just three was almost fated to die instantly, as several organisational problems came together to lead to the group’s shutdown within only a year.

However in September 2011, a young architecture student named Archontia Manolakelli came to the university; she says, “I was always interested in comic arts, and when I found out about this society, I was very disappointed that they weren’t active anymore.” There was life in the old dog yet, it turns out.

“Just before Christmas I received a message that the group was about to reopen and was looked for a secretary, so I applied right away”, she says. Since the thread was still in the Japanimation Society, a lot of the new members brought their anime and manga backgrounds on board, which had a huge impact. Now it’s 2012, and Archontia is President of the collective, which now has over 100 members.

So what’s it all about? Besides the basics – drawing lessons on characters, objects, expressions, and perspective, the focus is also on the wider aspects of comic creation. The actual lesson plan includes storyboarding, writing, using computers and tablets and a basic introduction to formats, panels and pacing. The collective is also present on several conventions and exhibitions, like this year’s London Expo.

There also stands the social aspect, as Archontia points out: “We want to release the creativity of our members by showing them ways to express themselves. We encourage everyone to interact with each other and share their knowledge.”

“Everyone is welcome, regardless of age or technique”, says Jevgenija “Jay” Maramzina, who is the only original member still part of the group today. “Besides our regular lessons we occasionally let members teach about certain subjects. We try to keep things flexible as we believe everyone can learn from anyone here”, agrees Nicholas Wilshaw, age 20, chemistry and management student, who is, besides Jay, one of the collective’s Vice Presidents.

The society restarted on these innovative concepts, which came to fruition with the Art Anthology Vol 1., an anthology published this summer made up of the artworks and comics from several members. Jay remembers, “We already had the idea back in 2011, but bringing together the material and finding a publisher took time.” And it’s for a good cause as all the gains from the book will go to charity. . In the end we were able to self-publish with the website lulu.com, it was perfect for the Collective because we weren’t interested in a profit or going through an agency. Archontia makes it clear: “The whole point of the book was to bring together the skill and passion of everyone involved. Profit is not what this is about.”

So what are the plans for the future, besides more books, of course? Archontia is ever-optimistic, “my aim for the group is to exchange knowledge and showing that the expression of imagination still has its place in the modern world. I also encourage the members to bind in long term friendships and cooperations, especially as some of us consider professional careers in the comic industry.”
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Check out the Manchester University Comic Collective’s Art Anthology Vol.1, which is available on http://www.lulu.com/gb/en/shop/jevgenija-maramzina-and-archontia-manolakelli-and-vincent-jung-and-shophia-syddall/manchester-university-comic-collective-art-anthology-vol1/paperback/product-20453313.html for only £4.00. Support your university’s talent!
MUCC on facebook: www.facebook.com/groups/108726279145245
MUCC on deviantart: http://mucomiccollective.deviantart.com

Review: ‘David’

Tucked away in the basement, the Cornerhouse’s intimate third screen hosted the last of five films celebrating the Manchester contingent of the Jewish Film Festival. To a full cinema (of, in fact, only about 30!), Joel Fendelmen’s David, the story of a young Muslim boy in Brooklyn mistaken for a Jew, highlighted the struggle to come to terms with your own culture and identity when growing up surrounded by religion.

Main character Daud, played by newcomer Muatasem Mishal, befriends a group of Jewish boys after being inclined to return a Torah left behind in a park. The development of these friendships form the main body of this film, and considering this to be Mishal’s first feature role, the delivery and authenticity of the relationships created are generally good, especially with the aid of Binyomin Shtaynberger, who plays the leader of the pack, Yoav.

For many, through its gaze into young friendships, this film will undoubtedly be perceived as very sweet, although personally I felt it verged towards being a bit saccharine at times. Though with most of the film dependent on the dialogue between children who, for many, have never appeared in front of a camera before, avoiding this was of course incredibly difficult.

There were indeed some awkward deliveries, but with that also some laugh out loud moments too. Likewise, there were times when Fendelman was truly able to bridge the cultural divide between Brooklyn’s Jewish and Muslim communities, aided by his ability to illustrate the many similarities between the two.

The interactions between Daud and his father, an Imam and thus a pillar of the community, also provides an affecting portrayal of father-son relationships, especially against the backdrop of its religious context. The shift in his approach towards his son, and also in many ways his daughter, form some of the best parts of this film, and actor Maz Jobrani fulfils his role gracefully and tastefully.

That this film has accumulated a number of awards, including the Audience Award at the 2011 Brooklyn Film Festival, speaks a lot about this fairly rookie cast, not least Jobrani. Noam Weinberg’s role as the Yeshiva teacher also comes across authentically and offers a wonderful insight into Jewish culture, traditions and history. The audience is introduced into this fascinating culture along with Daud.

This film no doubt has its strengths, yet this wasn’t enough to ignore its weaknesses. Some of the characters were certainly underdeveloped, especially that of Daud’s sister, played by Dina Shihabi. Perhaps though, in a film reliant on a young and inexperienced cast, there is scope to look beyond this.

Put together, the film was pretty engaging throughout. I won’t be rushing to see it again though, and I am unsure as to whether I wholeheartedly endorse the critical praise or the awards it has received.

I wasn’t brave enough to air these views in the post-film discussion – in fact we made our excuses and snuck out as soon as the film finished. It definitely had its moments but in all, for me, it lacked the “tug on your heartstrings” sentiment that it definitely sought to construct.

Mamma Mia! Here we go again…

Tis the season to be jolly and what better way than to have a good sing song? There may well be loads of good films out this Christmas, but Tom Hooper’s Les Misérables, is sure to be the film highlight of the year.

Whether you’re proud to admit it or not, we all have a favourite musical and it’s the film industry that we have to thank (or blame) for that. Countless actors have been unable to resist the charms of the musical, stepping up to the microphone to showcase their inner Judie Garlands. From Pierce Brosnan to Alan Rickman, Renee Zellweger to Nicole Kidman – they’ve all had a go. Even Marlon Brando proved himself to be a singing sensation, banishing none other than Frank Sinatra from the limelight in Guys and Dolls (was there anything that man couldn’t do?!)

All joking aside, this is a prestigious genre. Many musicals have gone on to receive not only great commercial but critical success. Robert Wise’s epic The Sound of Music tackled subjects as varied as nuns misbehaving to the rise of the Nazis and did so with great gusto.  Winning five Oscars and being nominated for four more, it also went on to knock Gone With the Wind off the top spot, becoming the highest grossing film to that date. Similar success stories have included Bob Fosse’s Cabaret. Winning eight Oscars, including best actress for the one and only Liza Minelli, this was not a film to be messed with, tackling equally challenging subjects with similar musical ingenuity. Then came Mamma Mia!. Whilst being the most talked about and laughed about (poor Colin!) film in a long time; the film’s celebration of Greece, abs and disco flares, shot Mamma Mia! to super stardom, becoming the most commercially successful film in the UK since Titanic.

Yes, Tom Hooper has a lot to live up to, but that doesn’t mean his latest film won’t maintain the musical’s prestigious reputation within the film industry. First off, his choice of musical isn’t bad. Les Misérables has so far been left untouched by directors and filmmakers, perhaps because it happens to be the longest-running musical of all time (no pressure then, Hooper!) Not sure you’re familiar with it? Two words: Susan Boyle.

But if there’s anyone who’s going to give it a good go it’s Tom Hooper. Being quite the Oscar winner himself, with his last film The King’s Speech winning four Academy Awards back in 2010, the only way has to be up. Teaming up once again with casting director Nina Gold, Hooper has produced a great cast with incredible voices. A-listers such as Amanda Seyfried, Russell Crowe, Hugh Jackman, Helena Bonham Carter and Anne Hathaway are acting and singing alongside the likes of Eddie Redmayne and Sacha Baron Cohen to bring the musical adaptation of Victor Hugo’s beautiful and seminal novel to cinematic life.

Not wishing to stop there, Hooper has secured this film’s place in cinematic history as being the first musical to have purely live singing performances on the soundtrack. There’ll be no miming or auto tuning in this one – what you see will be what they heard 100 takes later during filming, live on set. This will not only reveal the true singing talents of the cast, but showcase Hooper’s incredible vision as a director. Start spreading the news! There’s a place for Les Misérables somewhere and it’s at next year’s Academy Awards…or perhaps that’s just a dream I dreamed.

Joaquin Phoenix – the attention seeker

Joaquin Phoenix, star of the new independent film The Master, has recently found criticism and acclaim by stating that the Oscars are “Bullshit”. In the midst of awards season where many actors, directors and producers are looking to appeal to audiences for votes, Phoenix would rather disassociate himself from what he described as “The worst tasting carrot he’s ever tasted in his life.”

Is this his clever ploy to place himself in the centre of a voting frenzy after having missed out on two academy awards for past roles?

Beginning his acting career in Los Angeles at the age of 8, he followed the footsteps of his older brother, River, who had played in the adaptation of Stephen King’s novel Stand by Me (1986), crime drama Running on Empty (1988), and even had a cameo role as a young Indiana Jones in The last Crusade. Joaquin and River were both together on the night that River tragically died following a drug overdose in a Los Angeles club; he was 23.

In the maturity of his acting career, Joaquin demonstrated his dedication to the sincerity of his characters and personal beliefs while working on set. He embraced many bodily alterations for his roles such as losing or gaining weight and changing the colour of his complexion. Due to his strict vegan upbringing, Phoenix specifically requests that no animal products are used in his costumes and so in the 2000 film Gladiator, all leather was made out of synthetic materials to fulfil Phoenix’s request. He had also recorded an entire album and used his own vocals for his role as country music legend, Johnny Cash, in Walk the Line.

One of the biggest shocks of Phoenix’s career, however, was the announcement of his retirement in 2008, shortly after the release of Two Lovers. Phoenix had been on a promotional tour taking television interviews, the most notable of which was on the Late Show with David Letterman, which can still be seen on Youtube. Phoenix ambled out on stage, with a remarkable resemblance to Zach Galifianakis, and proceeded to proffer single word answers and stern looks in response to questions and playful banter. The interview appeared to be a comical play on stage, especially when Phoenix announced that his resignation from acting was to pursue a career in hip hop and rap music; the crowd burst into fits of laughter. Unfortunately, Phoenix was not amused and replied “What the fuck? What have you got the audience on, are you pumping nitrous gas in here or something?” Phoenix continued to be disinterested in his own career, claiming not to have seen the film he was there to promote, and sticking his chewing gum under Letterman’s desk.

Thankfully, Phoenix’s outrageous career move was a hoax to benefit a mock documentary he had been making with his brother-in-law, Casey Affleck. The Mockumentary, entitled I’m Still Here, was aimed to explore the relationship between celebrities, the media and spectators. Spending two years on filming, I’m Still Here features some incredible footage of Phoenix assaulting a heckler during a performance, as well as a large portion of his Letterman interview.

Joaquin, having returned to acting, is now touring to promote The Master, which was released in cinemas on the 2nd of November, and will be followed by the release of his next film, Nightingale, in 2013.