Joe Lidster on The BBC’s Sherlock and Transmedia Done Right | StoryForward Podcast

Joe Lidster

In this special episode of StoryForward, co-host Steve Peters talks with Joe Lidster, a television writer best known for his work on Torchwood, The Sarah Jane Adventures and most recently, the online story content for the BBC series Sherlock, starring Benedict Cumberbatch and Martin Freeman. They talk about the unique process behind the TV show, which, in true transmedia storytelling fashion, simultaneously spans your television screen, multiple websites and more.

BBC's Sherlock

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the podcast link is here (if it hasn't loaded!):

http://www.storyforwardpodcast.com/2012/02/003-joe-lidster-bbcs-sherlock-and-...

Teaser Poster & Synopsis Released for 'The Mask of Red Death' Transmedia Horror Adaptation. Jonathan Sothcott & Rob Pratten at the Helm!

London. 2020 as the radioactive clouds begin to fade after a devastating nuclear war, the last dregs of humanity fight to survive – drought and famine cripple this cracked, broken world. Electricity is a thing of the past. Hideous mutants stalk the night, desperately searching for food and warmth. A cold planet.A dying planet. Superstition is rife. Evil rises. Through the husk of the once great metropolis stalks a lone figure, The Red Death: to some a God, to others a freedom fighter. To all a nightmare of agonising death.

From the shell of a once great building, all that remains of his empire, corrupt billionaire Marzo rules what is left of London. His kill squads murder, pillage and rape. His group of friends indulge in every excess. Yet neither money or power can save Marzo from the Red Death… and it is coming for him.

Sothcott and Pratten team for steampunk ‘Red Death’ adaptation

 London. On the eve of the Berlin film market, prolific independent producer Jonathan Sothcott (Elfie Hopkins, Strippers Vs Werewolves) has announced ambitious plans for a post-apocalyptic, steampunk-styled adaptation of Edgar Allan Poe’s classic horror story The Mask of the Red Death, to be directed by acclaimed British film maker Robert Pratten (Mindflesh, London Voodoo).

“London. 2020 as the radioactive clouds begin to fade after a devastating nuclear war, the last dregs of humanity fight to survive – drought and famine cripple this cracked, broken world. Electricity is a thing of the past. Hideous mutants stalk the night, desperately searching for food and warmth. A cold planet.A dying planet. Superstition is rife. Evil rises. Through the husk of the once great metropolis stalks a lone figure, The Red Death: to some a God, to others a freedom fighter. To all a nightmare of agonising death.

From the shell of a once great building, all that remains of his empire, corrupt billionaire Marzo rules what is left of London. His kill squads murder, pillage and rape. His group of friends indulge in every excess. Yet neither money or power can save Marzo from the Red Death… and it is coming for him.”

Mask of Red Death will be a transmedia project encompassing a feature film, mobile app, web videos and social media. All media and marketing for the project will be integrated with a new technology called Conducttr which allows audiences to take a participatory role in the storyworld. Although audiences can’t affect the outcome of the movie – it plays like any other – they will be incentivised  to collect items across the web and physical locations in order to have a heightened experience of the movie when it screens.

Sothcott, Head of Programming for the Horror Channel prior to his successful career as a film producer, said “I have been looking for a project to work on with Robert that was more than just a film. As a producer I am constantly looking for new ways to tell stories and transmedia represents a very exciting opportunity. This version of Poe’s most famous story has everything the modern horror audience could want – its terrifying, sexy, action-packed and gory. As a film maker, Robert has a unique visual style that will make for an incredibly stylish film – this will be every bit as shocking as Mindflesh was and the post-apocalyptic setting allows us to give it a unique flavour – part steampunk, part cyber goth.”

Pratten commented“”When Jonathan mentioned the idea to me my mind first went to Tenpenny Tower in Fallout 3. It’s not quite like that at all but it does give you the idea of a rich dude trying to protect himself from the inevitability of death after an apocalypse.

This is a great opportunity to show how society might look after a reboot from a damaged hard drive: there’s a lot of what we recognize mashed up with medieval behavior we thought had been erased.In a world today in which many are predominantly hostile to spirituality, all they’ve done is replace faith in God with a faith in silicon chips and silicon breasts. In an post-apocalyptic Britain set in 2020, with life as we know irretrievably lost, new leaders will need to create myths in order to bring hope to the hopeless. And where there is no hope there’ll be violence, drugs, superstition and lust driven by the fear of facing our own mortality.”

The $1.5 million picture is scheduled to begin principal photography on June 1st 2012. No casting has been announced as yet.

Edgar Allan Poe’s short story The Mask of the Red Death was first published in 1842 and has been filmed a number of times, most notably by Roger Corman in 1964 with a cast including Vincent Price and Hazel Court.

Visit a baby sloth sanctuary in Costa Rica | Gadling.com (Clearly I am not buckling down to work this am!)

Visit a baby sloth sanctuary in Costa Rica


It's been a long week, take a few minutes to enjoy some cuteness. Sloths may not typically come to mind as a cute animal, but I'm sure after you watch this video, you'll come around. I first saw a sloth at the New York Times Travel Show (part of a Busch Gardens exhibition) and immediately fell in love with their cuddly, sleepy, smiley oddness. This video was taken at the Aviarios Del Caribe sloth sanctuary in Costa Rica, home to over 100 sloths and managed by sloth "whisperer" Judy Arroyo, who probably never complains about a long day at the office.

Genius. Add to Three Uses of a Knife: David Mamet’s Master Class Memo to the Writers of The Unit - Movieline

"TO THE WRITERS OF THE UNIT

GREETINGS.

AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.

THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.

EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.

OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.

BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.

QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?

2) WHAT HAPPENS IF HER DON'T GET IT?

3) WHY NOW?

THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.

IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.

THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.

read the full memo here:

http://www.movieline.com/2010/03/23/david-mamets-memo-to-the-writers-of-the-u...

Canada Revisited: Updates with Carolle Brabant, Telefilm Canada| Sydney Levine

Canada Revisited

News by SydneyLevine | February 10, 2012 | 0 Comments

Carolle Brabant, CEO Telefilm Canada
A year ago in Sundance we interviewed Telefilm Canada’s Carolle Brabant who had taken the reins of Telefilm the previous March. While often the Canadian films are waiting to premiere at Cannes or Toronto.  This year the number of upcoming greats which might make it to Cannes include Xavier Dolan’s latest Laurence Anyways (ISA: MK2), and Deepa Mehta’s Midnight's Children, based on a 1981 book by Salman Rushdie that deals with India's transition from British colonialism to independence and the partition of India. It won both the Booker Prize and the James Tait Black Memorial Prize in 1981 and was awarded the "Booker of Bookers" Prize and the best all-time prize winners in 1993 and 2008 to celebrate the Booker Prize 25th and 40th anniversary. It was also added to the list of Great Books of the 20th Century, published by Penguin Books.

Also coming up is the uncharacteristically quickly produced latest from of David Cronenberg,Cosmopolis, based on Don DeLillo’s novella and starring Twilight’s Robert Pattinson,  a study of capitalism that takes place in a billionaire’s limo in a slightly futuristic New York metropolis, which since Cannes, Kinology has already presold for Canada to eOne, France to Canal+, Hong Kong to Tomson, Switzerland to Ascot Elite and the Ukraine to Top Film Distribution. 7 other Canadian features are also in the works.

Read Sydney Levine's full post here:

http://blogs.indiewire.com/sydneylevine/canada-revisited?utm_source=iContact&...