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"Waiting for the Out" finished on a high with two unexpected yet earned and credible happy-outcome twists: a series strongly recommended.
( Marie Antoinette )
Kit Bellew is now firmly launched (although not yet rechristened 'Smok') on his Yukon adventure in "Smok and Malish" -- though I'm afraid that, as with the Soviet "Twenty Years After", after an initially hopeful start I was able to pick up rather less of the plot in what followed, despite the fact that large chunks of this section are completely dialogue-free, and indeed shot in what amounts to fluid silent-film storytelling technique...( Read more... )
As I said, this section consists of a lot of what are effectively silent film sequences with the occasional 'title card' snatch of dialogue, so Smekhov's expressive face is used to convey a lot of his character's thoughts and decision-making, to my benefit; it was the actual conversations I had trouble with!
I was somewhat shocked to gather from the podcast that the composers for "Ali-Baba" apparently didn't get paid for their work; they were classified on the record sleeve as 'dilettanti' ('amateurs'?) due to not being members of the official Composers' Guild, and thus the mere glory of getting their work published and distributed was presumably supposed to be enough! (Smekhov, likewise classified, presumably didn't get paid either due to not being an officially sanctioned 'writer'... but then the project was his idea in the first place. They were just doing the music in their spare time as a favour.)
I am now several chapters into the Russian version of "The Three Musketeers" as bed-time entertainment( Read more... )
( Marie Antoinette )
Kit Bellew is now firmly launched (although not yet rechristened 'Smok') on his Yukon adventure in "Smok and Malish" -- though I'm afraid that, as with the Soviet "Twenty Years After", after an initially hopeful start I was able to pick up rather less of the plot in what followed, despite the fact that large chunks of this section are completely dialogue-free, and indeed shot in what amounts to fluid silent-film storytelling technique...( Read more... )
As I said, this section consists of a lot of what are effectively silent film sequences with the occasional 'title card' snatch of dialogue, so Smekhov's expressive face is used to convey a lot of his character's thoughts and decision-making, to my benefit; it was the actual conversations I had trouble with!
I was somewhat shocked to gather from the podcast that the composers for "Ali-Baba" apparently didn't get paid for their work; they were classified on the record sleeve as 'dilettanti' ('amateurs'?) due to not being members of the official Composers' Guild, and thus the mere glory of getting their work published and distributed was presumably supposed to be enough! (Smekhov, likewise classified, presumably didn't get paid either due to not being an officially sanctioned 'writer'... but then the project was his idea in the first place. They were just doing the music in their spare time as a favour.)
I am now several chapters into the Russian version of "The Three Musketeers" as bed-time entertainment( Read more... )