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Showing posts from February, 2011

BOOK NEWS: Frank's Wild Years - A Caffeine Nights Publication

Deptford Station, circa 1968 'I'm a dog,' he said. 'A mangy old mutt. I do what mutts do. I do what they tell me, then come back with my tongue hanging out for more. I'm a fucking mutt.' It's been a long time coming, but Frank's Wild Years has a home with crime/noir publisher  Caffeine Nights . I'm looking forward to getting 'Frank' out in the world and making some noise this autumn, but in the mean time, here's an extract from the Caffeine Nights newsletter, published yesterday. I'll keep you posted. Cheers Nick "Caffeine Nights is delighted to announce the signing of Nick Triplow for the publication of his fabulous edgy thriller, 'Frank’s Wild Years'. The book, set in London and Humberside, gives a nod to the Ted Lewis novel 'Jack’s Return Home' which was subsequently re-titled when made into one of the best modern crime films of our generation, starring Michael Caine in the eponymous 'Get Carter'

THE LONG GOOD FRIDAY: NOT ‘AVIN A WORD

Creative Writing and the art of 'Show, don't tell' Bob Hoskins in The Long Good Friday, know what I mean, son. In the middle of what can only be described as a chaotic script workshop a couple of weeks ago - by turns wildly enthusiastic and blankly confused, we came up against what seems to be the single greatest revelation for an audience new to script-writing: it’s not all about the dialogue. I’d stood back as impossible ideas flew round the room. No, we weren’t re-making The Matrix , as for re-creating Mock The Week , feasible, but hacking out tired and bitchy clichés to order probably wasn’t going to be that rewarding either. Or achieve the end result the group wanted. This lot were buzzing with the possibility that their experiences could be communicated to a wider audience. But it couldn't be all about the words. Struggling to think of a rock-solid example to make the point for the next session, I settled on one of the greatest wordless denouements in film histo

Roy Budd & the Get Carter Theme

On the trail of great Brit-movie tunes, here's Roy Budd playing the iconic Carter theme - to give it its proper title Main Theme (Carter Takes A Train) - live along to the opening credits of Mike Hodges' 1971 Get Carter. Much covered - Human League, Stereolab to name but two, the theme slips into the movie at key moments; those haunting, ringing harpsichord notes do much to set the tone for what follows. And how many times has that bassline found its way into subsequent slices of ersatz funk? 'Say goodbye Eric...'