Where is Wonder Woman?

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Wonder Woman is an icon.

She was created by the American psychologist, writer, and designer of a systolic blood pressure measuring device, William Moulton Marston, for All Star Comics – later to become part of DC Comics. Inspired by two women in his life (Elizabeth Marston and Olive Byrne), Wonder Woman first appeared in print in 1941 – battling ‘Axis’ forces, supervillains, and mythological Gods and monsters. She has since been continually published, with the exception of a brief hiatus in 1986.

Based in Greek mythology and initially called “Suprema”, she was quickly renamed Diana – a Warrior Princess of The Amazons and daughter of Hippolyte. When a US Intelligence Officer – Captain Steve Trevor –  crashes his plane on the isolated island homeland of The Amazons, Diana finds him, nurses him back to health and fights for the right to return him to “Man’s World”, fight crime and battle the Nazis. Her mother awards her a special dress for her new role as Wonder Woman, and she arrives in America, ready to get to work. On arriving, she meets an Army nurse named Diana Prince, who desperately wants to leave for South America with her fiancé, but cannot afford to. Wonder Woman gives her the money she needs in exchange for her identity, and embarks on life as a nurse in the US Army, while fighting evil as Wonder Woman.

Like her only male equals in the DC comic realm – Batman and Superman – her story has been re-vamped and reinvigorated many times. Various re-boots have erased the relationship that developed with Captain Trevor; had Wonder Woman sacrifice her superpowers and learn martial arts instead; regain her superpowers; re-named her homeland as Themyscira; had her become an ambassador between Themyscira and ‘Patriarch’s World’; had her discover her true ‘creation’ as a clay figure, given life by the Greek deities; and, in a September 2011 re-launch, was no longer a clay figure, but instead, the demigoddess daughter of Hippolyte and Zeuss, King of the Greek Gods.

Wonder Woman has many abilities, including super strength, speed, agility, super reflexes, stamina, endurance, flight (after 1960), hand-to-hand combat skills, empathy, healing, and near invulnerability to magic. She wears a tiara that doubles as a projectile, and a pair of indestructible bracelets that can deflect bullets. They can also manifest magical weaponry, including the Lasso of Truth (also referred to as The Magic Lasso of Aphrodite, or Golden Lasso), which compels those captured to tell the truth. It is effectively a magical lie detector, the basis of which lies in William Marston’s development of blood pressure components of polygraph machines. In some stories, Wonder Woman has also been known to use an invisible aeroplane. Her iconic costume in print has undergone subtle changes over the decades, but remains largely the same – a red and gold bodice with blue and white shorts/skirt and boots.

With this broad range of powers and weapons, Wonder Woman has fought for justice, love, and peace for over seventy years, including appearances as part of the Justice Society of America (from 1942) and the Justice League of America (from 1960). Her monthly title consistently performs well, generating over $1 million each year. Of hundreds of comics, she is a regular fixture in the top 60 titles published, making her one of the most popular comic superheroes in print today. So, why has her formidable presence not continued to permeate our general media culture, as her male counterparts have?

The film industry generates vast income from comic book characters. Marvel have a successful history of turning their print properties into profitable movie franchises – The X Men (2000 onwards), The Fantastic Four (2005), Iron Man (2008), Thor (2011), Captain America (2011) and, of course, The Avengers (2012), are all prime examples of this strategy. They all have one thing in common, however – male dominance. There are women in The X Men films, but they operate within a defined patriarchy. There are women in The Fantastic Four movies, but their identities are defined by their relationships to their menfolk. Iron Man has Pepper Potts who, while being an accomplished, relatively well-written character, only currently exists in relation to Tony Stark. Thor has Jane Foster, a dedicated astrophysicist, certainly, but also a two-dimensional plot device. Captain America had British Agent Peggy Carter who, in his movie, basically served to be the beautiful woman he thinks about as his plane goes down.

Then, there is The Avengers, which actually gives almost as much importance to The Black Widow – Russian Agent Natasha Romanoff – as it does to her male counterparts, albeit mostly stomping around with a furrowed brow, complaining about having red in her ledger. Much as she holds her own in a team of male superheroes, she’s still not good enough. Why? Because she is spun-off from a male superhero’s story. She first arrived onscreen in Iron Man 2 (2010), and in the realm of comic books, first appeared in Tales of Suspense No 52 (April 1964), expressly as an antagonist of Iron Man.

In fact, every female comic book character currently in film is either a spin-off from a male character, or exists in a situation of male dominance. Yes, there once was Tank Girl (1995) – based on a British comic first published in 1990, and created by Jamie Hewlett and Alan Martin. She was a female character and the lead role in her own story, but the film version was poorly made and flopped. There was a movie version of Supergirl (1984) – a spin-off from Superman (1978) – again, poorly made, and a flop. Though we may wish to forget, there was the movie version of Catwoman (2004) – again, a spin-off character, albeit fascinating in her own right. Unfortunately, the film was simply appalling. Supergirl and Catwoman are both DC characters, and (with the notable exception of Tank Girl), remain the only real attempts to bring a female superhero to the cinema screen in her own movie. They didn’t work, because they were all simply superficial projections of male fantasies.

So, where is Wonder Woman? She completely fits the bill. She is a superhero in her own right. Her male equivalents – Superman and Batman – both have multiple versions of movie franchises to their names, while her biggest non-print success was the TV series, Wonder Woman, over thirty years ago.

Starring Lynda Carter in the title role, it ran for a total of sixty episodes over three seasons WW1975between 1975 and 1979. The show was a ratings success for the ABC network in its first season, but was set in the 1940s and was therefore expensive to produce. CBS acquired and re-booted it for its second season, changing the setting to the modern day. It was not renewed for a fourth season, due to a desire for CBS to produce more sitcoms instead. Beyond her relatively brief foray into live-action TV, Wonder Woman has featured in the animated series of Super Friends and Justice League, and also in an animated film of her own (Wonder Woman, 2009) with actress Keri Russell providing her voice. It went straight to DVD.

In early 2001, rumours began to circulate that a Wonder Woman film was in development at Silver Pictures. The names of a variety of writers were variously associated with the project, including Joss Whedon (Buffy The Vampire Slayer), in 2007. As is often the case, ‘creative differences’ were repeatedly cited, and this project has thus far neither been seen nor heard from. Joss Whedon went on to direct The Avengers instead. On 21st January 2011, Warner Bros Television announced their intention to pitch a new Wonder Woman TV show. Every major network rejected it, except for NBC, who ordered a pilot episode.

It was written by David E. Kelley (LA Law, Chicago Hope, The Practice, Ally McBeal, Boston Legal), and directed by Jeffrey Reiner (Mighty Morphin Power Rangers, Friday Night Lights, The Sentinel). It starred Adrianne Palicki (Legion, Red Dawn, Friday Night Lights) in the title role, Elizabeth Hurley (Austin Powers: International Man of Mystery, 1997) as supervillain Veronica Cale, and Cary Elwes (Saw, No Strings Attached). In this pilot, Wonder Woman is a vigilante crime fighter in LA, and also a successful corporate executive known as Diana Prince. She tries to link Cale to the distribution of an illegal steroid that provides superhuman strength and endurance, but proves fatal when used repeatedly. It transpires that earlier experimental versions of the drug created terrible mutations in test subjects. Romantic tension is provided by a former boyfriend – Steve Trevor – who returns to her life, married to someone else. Though it was expected to debut in 2011, NBC rejected the show, which was a critical disaster in previews and was never broadcast. It failed because, once again, the character of Wonder Woman was reduced to a male fantasy – not least in the re-styling of her costume.

WWAPWonder Woman’s costume for the 2011 TV pilot was described variously by critics as looking cheap and like something from bad porn. It certainly seemed to be a more cartoonish version of her traditional costume, with bolder colours, less patriotic patterning, and a shinier texture – more akin to Michelle Pfeiffer’s fetishistic Catwoman costume in Batman Returns (1992) than any Wonder Woman seen before. In this TV pilot, she varies her below-waist garb between skin-tight trousers and the traditional shorts, and though many complained about the reduction in patriotic symbolism, it was the distracting over-emphasis on cleavage that seemed to be, more than anything, just impractical.

Wonder Woman’s costume is vital to project success and, when changed, it should be changed to something that is not completely ridiculous. Changing a beloved character’s costume is not without precedent – Batman’s costume has evolved through the decades, and even Superman’s iconic outfit has been subtly altered. Of course a female superhero in 2013 cannot be expected to use a costume that has barely changed since the 1940s, but it can be changed in a way that respects both the character and her die-hard fans, while accommodating the required modernisation. And she doesn’t need to look like a porn-star just because she’s a woman, either.

So, with no Wonder Woman project forthcoming from NBC, The CW network began developing a Wonder Woman ‘origin’ TV series called Amazon, in September 2012. Hopes were high, as The CW is the home of Smallville – the highly successful Superman origin TV series – and was also seeing a great response to their new show Arrow (based on the DC superhero Green Arrow, and created by Marc Guggenheim, Andrew Kreisberg and Greg Berlanti – screenwriter of Green Lantern). Those hopes were quickly dashed, however, as plans for Amazon were reportedly postponed in favour of development of a project for the character of The Flash.

It would seem the plan is for The Flash to first appear within the show Arrow (in season 2), before – potentially – being spun off into his own show. The Flash, while being a much loved DC comic book character, was killed off in the comic book realm in 1985 and remained absent for 23 years – returning in 2008’s Final Crisis by Grant Morrison. This is in stark contrast to Wonder Woman, who has remained in the top rankings of comic book titles, consistently, for decades. When asked by the press why a Wonder Woman project seems to be so problematic, CW Network President Mark Pedowitz said, “It’s the trickiest of all the DC characters to get done.” It’s about doing justice to the character, and the franchise, apparently.

Is it, though? Why should Wonder Woman be regarded any differently to either Batman or Superman? All three are independent, powerful superheroes with complex origin stories. All three have featured in the comic book realm consistently and with phenomenal success for decades, through re-boots and re-launches, giving a wealth of material for filmmakers and TV writers to draw upon. All three have historically enjoyed successful stints on mainstream television in both live-action and animation.

The only difference is that she is a woman. It is, apparently, irrelevant that Buffy The Vampire Slayer was an international success, and the global phenomenon that was Alias means nothing. It matters not that women-driven action film franchises consistently become box-office hits. Just ignore the fact that Salt made $293.5 million, and the first Resident Evil movie alone made $102.5 million. Nobody mentions the fact that the first Tomb Raider film – on it’s own – generated $274.7 million in box office, or that the Underworld franchise brought home over $458 million. Then there is Alien – a film whose box office receipts were in excess of $104 million, and had a female lead so strong, she kick-started one of the most highly respected film franchises in history. Most recently, there is Gravity – a film in which the camera does not leave the side of its female star, and yet it has generated over $600 million in global box office receipts in just 66 days. Those achievements count for nothing in the current film and TV industry and, none of those female leads are original comic book superheroes (though the TV show Buffy The Vampire Slayer was so successful it spawned its own comics). In film and TV, the stand-alone comic book superhero is currently a Boys-Only club.

The systematic sidelining and dismissal of Wonder Woman as a powerful character in her own right was never more apparent than at the 2013 San Diego Comic-Con. Despite her undeniable status as a legendary comic book headliner, Wonder Woman was barely mentioned in connection with a possible Justice League movie. When director Zack Snyder (Watchmen, Sucker Punch) announced the development of a Batman Vs Superman movie, the crowd understandably went wild – but it was still sadly lacking. Only recently – months later – has it been revealed that Wonder Woman will feature in that film – in a supporting role, played by Gal Gadot. While many are excitedly embracing this tiny morsel of acknowledgement from the filmmakers, the question remains – why must Wonder Woman be relegated to a supporting role? Surely, the most dramatic and epic clash between Batman and Superman happened in her comic, Wonder Woman Vol 2 #219, when Maxwell Lord used his mind-control capability to make Superman try to kill Batman with a brutal beating? Were we to live in a world where characters are treated on their merits rather than their gender, Batman and Superman would have supporting roles in a Wonder Woman movie, with the two male superheroes being rescued, single-handedly, by the Warrior Princess, sacrificing her own reputation to save them. Exactly as it happened in her comic. But, we don’t live in that world. Batman and Superman playing second-fiddle to a woman? Goodness knows, we can’t have that.

Sadly, the fact remains that TV and film makers, studio and network executives, all perceive a stand-alone Wonder Woman project as a ‘risk’ because she is female, rather than a ‘sure thing’ because she is a superhero. It’s that simple.

Where is Wonder Woman? She’s right there – waiting for someone with the ‘balls’ to tackle her head-on. Anyone got Kathryn Bigelow’s number?WWclose


News Flash

Dear Readers,

In a small, positive change to my archive, I will no longer be making my articles and features available through the online entertainment magazine, ‘Emag’.

Instead, those pieces that had previously appeared on that external site will gradually be re-formatted and added here – enabling you to read them directly, without having to ‘click through’ to somewhere else. 

Thanks for reading!

Sarah Myles

Third Contact Strikes A Blow for Independent British Cinema

(from August 2013)

Having run a long, hard Kickstarter appeal, Director Simon Horrocks and his team achieved their goal in the final hour of their 56-day campaign to support the theatrical distribution of their self-funded film, Third Contact.

As the minutes ticked away, and the Kickstarter clock approached zero, the last of the project’s 435 backers pledged their support, taking the fund over its goal of £15,000 to a grand total of £15,486.

Third Contact tells the tale of depressed psychotherapist, Dr David Wright (Tim Scott-Walker), who embarks on an obsessive investigation after a second patient takes their own life in mysterious circumstances. He sets out to uncover who, or what, is behind their deaths before any more lives are lost. The production was entirely self-funded by Simon Horrocks, who wrote, directed, produced, edited and co-scored the film, with the help of his friends.

Having shown the film to great critical acclaim at the prestigious Internationale Hofer Filmtage Festival in Germany, Director Horrocks began working on getting the film into UK cinemas.

“We’ve shown Third Contact to independent cinemas in London – they like the film and want to show it, however, we need funds ready to pay for film promotion.”

Making the film over four years, on his own budget of just £4,000, Horrocks faced the problem of distributing a movie without studio backing or involvement. The reality of the industry today is that the odds are stacked entirely against real independent film. Cinemas need guaranteed ticket sales, and this is why our picturehouses are filled with ‘safe’ studio sequels and superheroes.

Funds raised by the Third Contact Kickstarter appeal will be spent on a professional press campaign, including press screenings, press releases, talent pitching , printing and distribution of promotional materials and the manufacture and delivery of the Digital Camera Package for Projection (DCP). With this undertaken, Third Contact will find its way, initially, into selected independent cinemas. Wider distribution is also planned.

Following their success on Kickstarter, Horrocks and his team are now planning their UK premiere as a global event, with a live stream of the screening being made available to backers unable to attend in person, and a live Twitter feed on the big screen both before and after the screening. The filmmaker will also conduct a Q & A as part of the event.

Harnessing the power of the digital age, the team behind Third Contact are achieving an astonishing feat – taking a film shot entirely on a household camcorder, and bringing it directly to its audience, on the big screen, via a crowd-funded promotional campaign. This is refreshing in its audacity, and historic for all those that value original thought and truly independent cinema.

Watch the trailer for Third Contact:


Kickstarter & Independent Film – A Conversation with Director Simon Horrocks

The last time we saw a revolution in independent film, producers Harvey and Bob Weinstein were leading the charge with Miramax Films – taking small, critically acclaimed ‘arthouse’ movies such as Sex, Lies and Videotape and The Cook, The Thief, His Wife and Her Lover, and investing in their distribution to wider audiences. Although their championing of independents from around the world gave us greater access to the work of Almodovar, Tarantino, Soderbergh and Smith, among many others, they eventually came under fire for driving the budgets of independent filmmaking up.  Though they had helped to raise the profile of the independent film industry in general, young, self-funded auteurs were still struggling to reach their audience.

The movie-making game is rigged against independent movies. Every aspect of filmmaking, from production financing to distribution, is pre-disposed to favour studio pictures. That being the case, small projects are marginalised at best – and at worst, they are locked out altogether. A new revolution was needed to help creative minds reach their audience. Enter, Kickstarter.

Launched in 2009, this for-profit organisation was founded with the intention of helping creative projects find the funding they required. Since then, over 43,000 creative endeavours have been successfully funded – everything from games and music, to art, film, design and technology. Project creators open a Kickstarter fund with a funding goal and an outline of their vision – and maybe some samples – and offer rewards for money pledged. Backers cannot receive financial reward for their support, but incentives may include memorabilia, copies of the finished product, tickets to screenings or concerts – or anything connected with the idea. If the funding goal is reached, the project receives the money. If it is not, the project gets nothing. This serves to both protect the backers, and motivate the project creators – they must publicise their fund in order to be successful. When a project is successfully funded, Kickstarter charges 5% – which is taken from the pledges collected.

Kickstarter is essentially a modernisation of methods that have been used by artists forever. Twain, Mozart and Beethoven, among others, all relied heavily on the generosity of interested benefactors and supporters in order to create their masterpieces and reach their audiences. This facility utilises new technology to bring together support for the arts from around the globe, and in addition to reverberating throughout many artistic sectors, the impact is being felt in the independent film industry, too.

Most notably, earlier this year, the creators of the TV show Veronica Mars took to Kickstarter to give fans the opportunity to fund a movie, since studios said they would, in principle, support the project, if the filmmakers could find support for the budget. Find it they did, with over 90,000 devoted fans collectively pledging $5.7 million to resuscitate their favourite TV character. Excited debate swirled around the crowdfunding site – could this be a new dawn for independent film? The past eighteen months have certainly made it look that way, with 10% of films screened at the Sundance Film Festival in January 2012 being Kickstarter funded, and two Kickstarter funded films receiving Academy Award nominations in March of that year. Throughout 2012, a total of 63 Kickstarter funded films screened in more than 1,200 cinemas. Not only are films being funded, they are also being distributed – a crucial factor for independent filmmakers.

Enter Simon Horrocks – writer and director of the entirely self-funded independent British film, Third Contact – now seeking distribution through a Kickstarter campaign.

“I’d wanted to be a filmmaker since I was about 7 or 8 years old, but instead found my way into the music industry, earning a modest living as a film and TV composer. My writing partner and I fell on hard times, when various events conspired to lock two years worth of work in a warehouse. I was working in a cinema to pay the mortgage and was inspired to make a feature when members of staff received an anonymous email from an organisation called ‘Film In The Make’, setting us filmmaking tasks.

“From that, I directed a short for virtually nothing, and that sowed the seed in my mind that I could make a feature the same way – it would just take longer. So, I wrote Third Contact, making sure all the scenes were do-able on a zero (or very small) budget. I worked on the script for about eight months.

“I broke the script down into locations, and started filming, with each location being a mini-shoot, as if we were shooting a short film. This took just under a year. We had to improvise a lot. The locations weren’t necessarily as I had envisioned them when I was writing. Also, some of the roles were played by friends who had never acted before, but I saw them working for the character – again, sometimes bringing something new to the story which I hadn’t seen in the writing.

“I would try to look at the production from an angle of ‘What are we gaining by shooting so unconventionally’? There was only one moment where I felt really defeated. I only had one professional light, which had been found discarded in the back of a BBC cupboard by my composing partner who worked there. We were shooting some scenes in a basement, and it was damp. I had a bad feeling this would blow the bulb, and it did. Stupidly, I hadn’t got round to buying a spare, so I had no light for the scene.

“Tim (Scott-Walker, lead actor) just said, ‘I know you’ll make it even better – even more moody’. So, I just used the available lighting – the ‘practicals’ – and I think he was right. That was the whole philosophy of the shoot – try to turn adversity into a positive. Apparently, when Godard shot A Bout De Souffle, he didn’t have the footage to shoot from different angles, so he had to cut the same shot together, creating ‘jump cuts’, which was then seen as a great innovation. So, we approached every budget limitation in that fashion – any limitation would become a positive if you were prepared to innovate and experiment.”

Third Contact tells the tale of depressed psychotherapist, Dr David Wright (Tim Scott-Walker), who embarks on an obsessive investigation after a second patient takes their own life in mysterious circumstances. He sets out to uncover who, or what, is behind their deaths before any more lives are lost. The film is shot largely in black-and-white, with occasional splashes of colour, on a handheld camcorder. Sound, music, creative camera angles and strategic editing are all used to conjure the necessary atmosphere to stunning effect.

“For Third Contact, there were a mix of influences – Chris Marker’s La Jetee being one of the most important. Combine that with Vertigo, Pi, The Pledge, Eternal Sunshine of the Spotless Mind, and Memento. I was also inspired by David Lynch shooting Inland Empire with a pretty basic DV camera – that showed me it’s not about the equipment – it’s about the creativity. That’s where I’m most in my element, I guess.”

Having funded his production entirely on his hourly cinema salary, Simon Horrocks needed to get his work to an audience. He found himself screening Third Contact at the German Film Festival, 46 Hofer Filmtage.

“The Hofer Filmtage is a great festival, with a wonderful atmosphere. All the films are selected by Heinz Badewitz, who has run it since the 1960s. In Germany, the festival is considered prestigious – it would be their equivalent to Edinburgh. But the festival has a long history of introducing filmmaking talent to the industry, with big names in German cinema like Wim Wenders, Werner Hertzog, Rainer Werner Fassbinder and others showing their films there. The town, Hof, was termed the Home of Film by one of them. I had met a German filmmaker living in London – Michael Pakleppa – who loved Third Contact and was a long-time friend of Heinz. He gave Heinz a copy, he loved it as well and asked to screen it.”

The critical response to Third Contact was overwhelmingly positive, with literary critic, author and journalist Thomas Rothschild asserting that, “It certainly is no exaggeration to say it’s quite the masterpiece…” But the culmination of Simon Horrocks’ dream lies with London cinema, and he is using Kickstarter to get there.

“We shot the film without industry involvement, so it seemed right to distribute it that way, too. Platforms like Kickstarter make it possible to raise funds for things like distribution. This means you can go to the audience and ask them to back you. It’s not an easy task. You have to become a film publicist. But it does mean that you have your destiny in your own hands, if you have an appealing project and a huge amount of determination.”

The Third Contact Kickstarter goal is £15,000, and funds pledged will enable Simon to bring his work to a much wider audience, particularly at a time when smaller fare is elbowed out to make way for studio ‘tent-pole’ productions.

“Cinema is crowded. There are many films crying out for attention. How do you get noticed? This is the same for anyone in a creative field – novelist, musician, the list goes on. The funds will allow us to pay for a PR company to promote the film and create promotional materials, such as posters. It’s so important to get your marketing right. We’ve learned so much about Third Contact by running the Kickstarter campaign, so we have actually done much of the concept work already. Which means the money will be even more effectively targetted.”

Simon’s ambition to bring his first feature to the big screen in London stems from his passion for the cinema experience, having found his own inspiration there. This does not mean the life of the film ends there, however.

“Distribution platforms are evolving now, with digital taking over. This makes films easier to distribute. But I still feel the cinema experience is vital for inspiring audiences and new voices. Just because it’s easier, doesn’t mean we should just let cinema die. If we love cinema, as I do, we must try to keep it alive, and not just abandon it to the huge event movies which dominate the multiplexes. We plan to release Third Contact to a select number of independent cinemas in London. With the PR funds getting us good audiences, this would hopefully allow us to screen it elsewhere – perhaps touring it to independent screens around the country, and even overseas.”

Simon remains open-minded about the long-term impact crowdfunding facilities such as Kickstarter could have on independent film finance. Reserving judgement on whether we are witnessing the evolution of film funding, he welcomes the opportunity to engage an audience in the creative process.

“I’d like to say yes, filmmakers are going to take the reins of their own projects and go straight to their fans and their audience for finance. I think it’s too early to say, at the moment. We’re still at the pioneering stage. My experience, so far, is very encouraging. It is possible to find and connect with your audience, even for a film as unusual as Third Contact. You find there are people who are looking for something fresh and they will become fanatics on your behalf – because you are not some distant ego on a pedestal. I feel it is very healthy for film if the audience is part of the creative process and is connected to you and your work.”

With just a few days left to go on his Kickstarter campaign, will Simon Horrocks’ future projects involve Kickstarter?

“Quite possibly. I have a number of stories to tell on the big screen. But, so much depends on the result of the Third Contact campaign. Everything we have done in the last four years comes down to this – the next few days.”

Discussing Kickstarter and independent film with Simon Horrocks, it is impossible not to be inspired. Could it be that the system – previously rigged to prop up the giant, well-monied movie studios – can be restructured from the ground up? Not only are filmmakers finding their production budgets from crowdfunding, but also their distribution. Could we be witnessing the end of the era in which faceless, corporate accountants determine what films are made, and what films we get to see on the big screen? Will the audience be calling more of the shots? It seems so, and Third Contact is leading that charge.

Filmmakers and audience, side-by-side, creating and experiencing art – welcome to the future of cinema.

Find out more about Simon Horrocks and his movie, Third Contact at: http://www.thirdcontactmovie.com/makingof.html#.UcwjPqtwbIV

Watch the trailer:

News Flash

Dear Readers,

A website that I once wrote several movie features for – Emag.co.uk – has recently undergone a re-branding. Today, they have mistakenly changed the name on articles and features written by me, to “Maeve Olmstead”. I have been in contact with them and asked them to fix the problem as soon as possible, so that my own name once again appears on my own work.

Please be aware, however, when clicking on links to my articles on Emag, that they may currently appear with this different name. I apologise for any confusion, and am seeking a swift resolution to the issue.

Many thanks for your patience.

Sarah Myles

(5th December 2013)