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Reply with quote  #1261 
Good choice on the intro P [comp][thumb]  

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This is the link for the art gallery P [comp][thumb] ps some tune above this post [thumb][thumb][thumb]

http://artfrenzy.co.uk/

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One of the best i seen on the big yin robbing the bank under cover of the big drum [rofl]

 [comp]Peter McDougall is a bit of a forgotten man these days, but, for a few years in the 1970s, he pretty much was modern Scottish drama. His TV plays Just Your Luck, The Elephant’s GraveyardJust a Boy’s Game and especially the controversial Just Another Saturday, which included real footage of an Orange Walk and all that goes with it, are outstanding, and feature some of the first acting roles for the likes of Billy Connolly, singer Frankie Millar and comedian Hector Nicol as well as having a regular coterie of actors who appeared in his work, including David Anderson, Ken Hutchison, Eileen McCallum and Jon Morrison. These plays dealt with class, knife culture, sectarianism (at a time when this was hugely controversial and brave), and what it means to be a ‘man’. Like his plays, the answers he offers are sometimes difficult to warm to.

His film of Jimmy Boyle’s life A Sense of Freedom is shocking in its intensity and has an incredible central performance from David Hayman as Boyle. In the 80s McDougall returned to his home town of Greenock for Where The Buffalo Roam (see Harvey goes to Holy Loch…) which starred Harvey Keitel as a US Marine who is stationed at Holy Loch and has married a local lass. Both of these are really worth seeing as they capture aspects of the West Coast of Scotland that have become familiar, but at the time were unusual to see on screen.

His last, at least to this date, TV play was Down Among the Big Boys. It is a Glaswegian tale of cops and robbers which stars Ken Drury, Alex Norton, Maggie Bell and, as the Romeo and Juliet of the piece, a young Douglas Henshall and Ashley Jensen. They are newly engaged and it is time for the families to meet. His father is a high ranking policeman, her’s a successful bank robber, played by McDougall’s old friend and welding colleague Billy Connolly. A marriage made in heaven.

Some performances are stronger than others. Norton, Bell and Drury are reliably excellent, but Henshall and Jensen struggle. However, they have both gone on to bigger, although not always better, things. Jensen has become a  talented actor, both dramatic and comic, but I’m afraid I still don’t get Henshall. I find his technique too mannered. However, it’s Billy Connolly who steals the show as the career criminal Jo-Jo Donelly, a role which is a hint at what was to come in 1999’s The Debt Collector (see Connolly Collects…) where he is superb as the Boyle-esque Nickie Dryden. In Down Among the Big Boys he is always one step ahead of the police, and seems to fall on his feet. The clip below includes a classic scene where a job which looks as if it is going to have to be abandoned is saved by an unlikely source:

There are a few interesting cameos here from Rab Affleck, Gary Shaw, the ubiquitous Freddie Boardley and, in a blink and you’ll miss it appearance, young Hobbit Billy Boyd. Here he is:McDougall has recently been concentrating on stage plays, writing three in 2004 for A Play, a Pie and a Pint at Oran Mor and which starred Robbie Coltrane and Sean Scanlan He was apparently working on remakes of the Ealing comedies Whisky Galore! and The Maggie but fell out when the film company refused to go with his choices for lead actors. McDougall’s work has been dismissed by many as Scots Noir, contributing to the prevailing image of ‘No Mean City’ etc, but his plays were always poignant, and often comic, and surely it’s time for his work to grace, and sometimes disgrace, our screens once more.

Buy  Scottish films from the Dear Scotland Shop here:

[_SL160_]

Further thoughts can be found at scotswhayhae.

Alistair’s latest thoughts on Scottish books appear on the first Monday of every month.

 Archived in FilmScottish Films and tagged Down Among The Big BoysScotlandScottishScottish FilmsYou Have Been Watchingvideo. Bookmark the permalink.


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The Wee Man Review


The complete guide to the screenwriting process

Every movie or TV series begins with an IDEA.  Whether it is an original idea or a book you want to adapt to the screen.

You have an idea. Maybe it’s vague or general, and maybe you’re not sure if it’s any good – but it’s a beginning even if you write a TV series or a movie that has more than one main character just focus on one character.

After you’ve defined who the main character is and what he/she wants and why he/she has trouble getting it, repeat the process for the other characters as well. 

https://www.scriptreaderpro.com/how-to-write-a-screenplay-2/


The Wee Man
by Ray Burdis
(2010 1st draft) 
Based on the best selling books
by Paul Ferris and Reg Mckay

INT. Cell - NIGHT

Black screen. Music: We hear a haunting discordant melody of a child soprano singing a Latin hymn.

This carries throughout the entire scene...
A brilliant light as the screen is filled with the full moon in a cloudless night sky.

The camera slowly pulls focus until we see that we are looking at it through a tiny barred window.

(POV) of the camera as it moves away to explore the small bleak chamber, lit only by the blue stark moonlight that thrusts through the dirty wire glass window into the cell.

We briefly come to rest upon a small table against the wall on it a picture of a older man and his wife kneeling beside a small boy proudly posing for the photograph of better days gone by.

The haunting music plays on as we move off again around the barren cell to find it's occupant, a young man, quietly lying on his bunk staring at the ceiling, taking long slow draws on his cigarette.
His attention never wavers once, even though from outside his cell door, we hear the ominous marching sound of booted feet making their way up the long concrete corridor .
He takes another draw as the small invisible army pass his cell and into the next. We hear the jangle of keys as they are turned in a lock...We hear...    

TERRIFIED MAN (O.S.)

(pure fear)

Naww...not again please god hel...

MAN 1 (O.S.)

It'll take more than god to help you ye bastard...Hold him.

TERRIFIED MAN (O.S.)

Nooo....arggg nooo mother of god. Ahhh...

The Terrified mans screams echo throughout the prison. We hear the odd shout of hopeless protest from other inmates as the sound of the relentless onslaught goes on.
Impassive, still lying on his bed the young man take the last slow draw on his cigarette then stubs it out with his fingers.
He gets up from his bunk and moves towards the small window and stares out of it into the cold night....
From behind him we hear a voice.

Man (O.S.)

What are you doing out of bed.

Startled the young man turns to the source of the voice.

EXTREME Close up.

It is the hard as nails face of WILLIE FERRIS.

Willie

(concerned)

What are you doing son ye should be in bed.

We cut back to the young man by the window, though now it's not a young man...it is a SMALL BOY, PAUL FERRIS aged eleven...

CUT TO:

INT. ferris household. bedroom - NIGHT

FLASH BACK: It is year 1975

Young Paul

It's them again da.

Willie

Who?

Young PAUL

(worried.)

The monsters?

Paul looks out of his bedroom window, wipes away the condensation and peers out into the street below.

CUT TO:

EXT. rainy street - NIGHT

It is pissing down with rain. By traffic lights, A DRIVER sits at the wheel of a white van. He reads a newspaper as the lights change from red to green...red to green. The van starts to buck and rock as from the back we hear muffled screams. (Echoing the previous scene)   

TERRIFIED MAN

Naww help me some body helllp...arrrr..

THE DRIVER just smiles to himself and carries on reading.

CUT TO:

INT. fERRIS HOUSEHOLD. Bedroom - NIGHT

PAUL'S FATHER has joined him at the window and together they peer down at the van.

Young PAUL

Why do they do that da? It's not right...

Stifling his gut wrenching  pain, WILLIE looks down at his boy and pulls him gently away from the window towards the bed.

WILLIE

It's no right that's for sure, but that's the way it is son.

Young PAUL

Why?

WILLIE thinks for a moment as PAUL climbs into bed. Dad tucks him in.

Willie

(struggling)

Well...you said yourself that they were monsters...that's all they are son...cowardly beasts who hunt in packs and prey an the weak...

A wide eyed PAUL listens intently.

Young PAUL

Will they ever get me da?

WILLIE

(smiles)

No son they will never get you!..I promise.

Young PAUL

How can you be so sure?

WILLIE

Because...if you remember..always remember..that outside of this house..it's a forest...a vast, dark scary forest full, of evil things lurking behind trees waiting to get you... 

PAUL doesn't like this tale. He whimpers and pulls the bed clothes over his head. WILLIE smiles and pulls the covers back. 

WILLIE (cont'd)

Will ya listen to what I'm saying son.

Young PAUL

(scared)

But I don't like it da.

WILLIE

Nobody does! But there are three simple rules to survive in the forest...and if you remember them nothing can ever touch or harm you...

PAUL sits bolt upright his full attention.

Young PAUL

What are they da?

WILLIE

(thinks)

Well...always beware of strangers...Stick close to people you love and trust...and...

PAUL looks on listening intently.

WILLIE (cont'd)

And...err...and...shite its gone out of my napper.

Young PAUL

(disappointed)

Da!

WILLIE

(serious)

Oh yes...always be your own man ...don't be a lamb...don't follow others son, be a leader and always follow your own instincts.

PAUL is pleased as punch as dad kisses his forehead.

WILLIE (cont'd)

It's two in the morning son get some sleep.

WILLIE moves towards the door.

Young PAUL

Why doesn't anyone help?

WILLIE

There's no one to help son.

Young PAUL

What about the Police? Couldn't they stop it da?

WILLIE stops...sighs and turns out the light. 

WILLIE

Go to sleep son....

He moves off out of the room and closes the door. After a second Paul darts out of bed to look the window again. The van still rocks and the muffled screams go on unheard in the cold night rain.

CUT TO:

EXT. rainy sTREET - NIGHT

The back doors of the van fly open and a body of a man is hurled into the gutter. He moans from his mashed blooded face as three men in uniform get out.

Policeman 1

If we see you around here again you won't be so lucky.

The second officer of the law looks at the battered heap on the floor.

Policeman 2

We're off now cunt any thing to say?

He sarcastically cups his ear. The man just moans, he is barely conscious. 

POLICEMAN 2

(angry)

I said anything to say?

The man moans..

POLICEMAN 1

Say thank you!

The other officer steams in with three almighty kicks to the mans face.

POLICEMAN 2

Say (kick) Thank (kick) You (kick).

The man gurgles as blood pours from his broken nose and mouth...the driver puts down his paper and calls to his colleges.

Driver

Lets go lads, I promised my to take the family for a Chinese tonight. 

The other climb in as the police van pulls slowly away.

The haunting discordant melody of a child singing a Latin hymn reaches a crescendo as the camera cranes up from the bloody scene towards the window as PAUL FERRIS, a young boy of eleven looks on.

CUT TO:

INT. fERRIS HOUSEHOLD - nIGHT

The boy stares out into the night lit only by the blue stark moonlight that thrusts through the dirty wire glass window. He is startled by a voice behind him.

Man (O.S.)

Ferris!

Paul turns to the source of the voice.



CUT TO:

.....................................................................................




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The Wee Man
by Ray Burdis
(2010 1st draft) 
Based on the best selling books
by Paul Ferris and Reg Mckay



INT. solitary confinement cell - NIGHT
LEGEND: TWO MONTHS LATER:

SCREW
The governor wants to see you Ferris..now!

PAUL is sitting, snoozing on the floor of his bare solitary confinement cell. He opens his eyes and calmly replies.

PAUL
What! It's lights out for fucks sake. Tell him I'll see him in the morning, I need my beauty sleep.

SCREW
(unimpressed)
I said now!

PAUL slowly gets up.

PAUL
Is it true?

SCREW
What?

PAUL
The rumours?

SCREW
(bemused)
What rumours?

PAUL
(serious)
That the Governor likes to dress up....after lights out?

SCREW
(puzzled)
What the fuck? ....Dress up?

PAUL
(winks)
You know....woman's stuff... patent stilettoes and crutch-less silk knickers!

Screw
(pissed off)
Shut it Ferris and move.

PAUL moves towards the cell door.

PAUL
(throw away)

I hope he wants to see me on legitimate business and that the old bastards not just feeling frisky.

CUT TO:
INT. GOVERNORS office -  NIGHT

PAUL is standing in front of the GOVERNORS desk. One SCREW guards the door. Two other SCREWS stand either side of PAUL, their scowling features inches from his face. This is an effort to intimidate him...it doesn't.   
The GOVERNOR is an older man with the air of self supremacy. He is looking at PAUL as if he is made of shit. Likewise as PAUL stares back at him. There is a long pause.

Governor
(contempt)
Well...Ferris have we enjoyed our stay in solitary?

PAUL
(indebted sarcasm)
Yes thank you sir..excellent accommodation if I may say.

This knocks the wind out of the GOVERNORS sails.

GOVERNOR
(spits venom)
Don't get fucking funny with me Ferris.

PAUL
I'm not being funny sir, I genuinely enjoyed the experience. I found the solitude quite inspiring in fact I wrote a few poems would you like to hear one sir?

A SCREW pipes up.

SCREW
(warning)
FERRIS!

GOVERNOR
(calmly boiling)
I don't want to hear your smug answers.

PAUL
Then why ask the questions sir?

There is a pained silence as the SCREWS stare at PAUL like they want to kill him.

GOVERNOR
(calm but angry)
You think you're so cleaver don't you son? Full of yourself...think you're the big I am....well let me tell you something...
If you really look at yourself...take a long hard look deep into that... black hole of a fucking soul of yours...
you'll see that you're nothing...absolutely nothing.

PAUL looks on.

GOVERNOR (cont'd)
Yes, you might think that your a big shot on the streets but of what?...King Of the fucking low life scum that end up spending most of their miserable existence shut up in here...understand?

PAUL
Aye that I do sir.

GOVERNOR
This is my world where I rule! People like you are shit on my shoe Ferris. You may get to leave  here in a few days with a giant fucking chip on your shoulder but I know something for certain...
that you'll be back...I can guarantee it.

There is a long pause.

PAUL
May I speak sir.

The GOVERNOR stares at him....then nods.

PAUL (cont'd)
(sincere)
Have you took a long hard look at yourself?...

SCREW
(spits)
I fucking warning you Ferris!

GOVERNOR
(contempt)
Let him speak...lets hear what the wee man has to say for himself.

There is a long silence.

PAUL
(sincere)
The way I see it is...if you took a long hard look into your soul...past the monsters...beyond the demons you'll see a lost terrified little boy who...rather than face his own fears...his tormentors...he chose to lock himself in an ivory tower and surround himself with fools. You say that this is your world where you rule but if you were really honest with yourself you have to confess that you haven't a clue what's going on around you and if you do then you're really no better than me...In a funny way I feel sorry for you...at least I walk away from here in three days but do you? You're doing life for Gods sake.
A stunned silence as the red faced GOVERNOR looks fit to explode.

CUT TO:
INT. CELL - NIGHT
PAUL is lying on his cell bunk quietly lying on his bunk staring at the ceiling, taking long slow draws on his cigarette. His attention never wavers once, even though from outside his cell door, we hear the ominous marching sound of booted feet making their way up the long concrete corridor . He takes another draw as the small invisible army stop. We hear the jangle of keys as they are turned in the lock...the door opens and six SCREWS pour into his cell.   

SCREW 1PAUL
(contempt)
Right you bastard lets see who are the fools now.

He is held down on the bed as the SCREWS relentlessly beat  on him with their truncheons.
As he begins to pass out of conciseness he catches a glimpse of a face peering through the cell door. It is the face of the GOVERNOR.


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