Content :

The Inbetweeners

Pushing Daisies

Once

Battlestar Galactica

Chuck

Preaching to the converged

White Girl

Terminator: Sarah Connor Chronicles

Be Kind, Rewind

Michael Clayton

No Country For Old Men

Mad Men

Journeyman

2007 on the big screen and small

Top 25 Time Travel Stories

The Rules of Seduction

The Nines

National Novel Writing Month

Portrait of Jennie

Red Planet Prize

Dexter

Screenwriting matters

The secret history of British film

Californication

Agents

Superbad v the feMANists

Atonement

Paul Laverty

My weekend with the podcasters

Edinburgh Film Festival 2007

A bummer of a summer of British film?

Wouldn't you just die without Mahler

The great British screenplay

Seinfeld

Steps back in amazement

Cheltenham Screenwriters' Festival

28 Pirates Later

How to arrive late and leave early

Blog off and leave me alone

Screenwriter : comic reader

The 50 Greatest TV Dramas

Spiderman 3

The Holiday

Perfume

Porn: The Second Coming

The Innocents

Battlestar Galactica

My highlights and low lights of a moviegoing 2006

The Queen

Pan's Labyrinth

Casino Royale

Little Children

My fave screenwriting podcasts

Random thoughts about character

Trouble in paradigm

Children of Men

Lost on Broad Street: Diary of a Multi-Strand Collaboration [External link]

Dramatica: the DNA of story?

Writing partners

EAVE: uni for film producers

Writing for Hollyoaks

The loneliness of the long-distance copywriter

Access issues for theatre writers

 

No, don't tell...


little childrenThis afternoon I had the misfortune to sit through two hours of torture going by the name of Little Children. It wasn't that the story was bad, or the dialogue poor, or the acting, cinematography, direction not all up to scratch, nor even Kate Winslet yet again failing to keep her clothes on. All of these were good things.

No, what made me sit there wanting to pull every one of my teeth out was the voice-over.

I'm not against voice-overs. I've even used them myself. There are some great films and TV dramas that use them to tremendous, ironic effect: Citizen Kane, The Opposite of Sex, The Thin Red Line, The Singing Detective and the recent Kiss Kiss Bang Bang all spring to my inner narrator. But the least I expect from a V.O., the very least, is that it's delivered by a character within the drama.

Not in this case. Right from the off, some random bloke blabbers all over every scene, telling me what the characters are feeling and doing, like I can't work it out for myself! Who is he? Why is he telling me all this crap? Why doesn't he shut the fuck up?

I waited in vain for this narrator to be revealed as someone essential to the drama unfolding, but no, he just gave up and apparently died two thirds of the way through, too late to stop me stabbing myself in the thigh with a penknife to relieve the pain. Then right at the end the fucker woke up again and explained what I'd been watching for the last two hours.

How could this anachronistic abomination happen in a movie, here, in the year 2006?

Was it clueless screenwriting? Was it slapdash, cut n paste adaptation? Or was it some executive producer panicking at focus group feedback and demanding every single thing be explained just for the benefit of any retard who happened to wander into the theatre?

Who knows? I gave up asking in the end. I'm now thinking of starting a campaign to get film classification boards to add a V.O. Warning to offending films. Something like 'The following film contains insultingly obvious voice-over narration that may well offend the intellect of your pet dog.'

That should do it.