https://screensofmatter.com Screens of Matter Thu, 22 Feb 2024 16:44:03 +0000 https://screensofmatter.com en https://screensofmatter.com/home-2 Mon, 15 Aug 2022 18:26:23 +0000 Screens of Matter https://screensofmatter.com/home-2 SCREENS︎&nbsp; ofMATTER We do Sci-Fi film screenings in Bristol︎ Watch this SPACE&nbsp; https://screensofmatter.com/Film-notes Thu, 22 Feb 2024 16:44:03 +0000 Screens of Matter https://screensofmatter.com/Film-notes 1984 SCI-FI-A-THON PROGRAMME NOTES STARMAN RELEASED:&nbsp; 4 December 1984 THE PLOT Halloween director John Carpenter took a strange detour into romantic science fiction territory with Starman, starring Jeff Bridges in a truly oddball performance that earned him an Oscar nomination. When his spacecraft is shot down over Wisconsin, Starman (Bridges) arrives at the remote cabin of a distraught young widow, Jenny (Karen Allen; Marion from Raiders of the Lost Ark), and clones the form of her dead husband. The alien convinces an understandably freaked-out Jenny to drive him to Arizona, explaining that if his mothership doesn't pick him up in three days, he'll die. <img width="4278" height="2700" width_o="4278" height_o="2700" data-src="https://freight.cargo.site/t/original/i/752b120e3f67760132a239d49636237174a4f093e319655345e848f320d831ac/36_Starman_Stills_02.jpg" data-mid="205344593" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/752b120e3f67760132a239d49636237174a4f093e319655345e848f320d831ac/36_Starman_Stills_02.jpg" /> CAST Jeff Bridges as Scott Hayden / Star Man Karen Allen as Jenny Hayden Charles Martin Smith as Mark Shermin FACTOIDS What explains the director of Halloween veering into science fiction romance territory? In reality the project, which had been knocking around for five or so years, &nbsp;came at a time in his career when he was eager to take a break from his usual filmmaking diet of horror and exploitation, though he wasn’t the first director to be offered Starman (Adrian Lyne, Mark Rydell, John Badham, and Tony Scott were all associated with the project before Carpenter). <img width="4216" height="2700" width_o="4216" height_o="2700" data-src="https://freight.cargo.site/t/original/i/7a5f99859501b740d3cee735835ae4cca1b96032298e26a0079d8f4a9a578913/36_Starman_Stills_06-2.jpg" data-mid="205344596" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/7a5f99859501b740d3cee735835ae4cca1b96032298e26a0079d8f4a9a578913/36_Starman_Stills_06-2.jpg" /> Starman’s final form and release strategy was strongly influenced by 1982’s E.T; a huge blockbuster that inevitably exerted a pull on the minds of Hollywood when it came to commissioning science fiction projects. Starman had actually been in development long before: Columbia Pictures and executive producer Michael Douglas(yes, that Michael Douglas) were in development with Starman for four years, but Columbia’s development in 1980 of another alien story that became E.T: The Extra-Terrestrial caused delays (and triggered several directors to depart). E.T eventually moved to Universal Pictures where it became a huge success. Screenwriter Dean Riesner , who worked on rewrites of the original screenplay by Bruce A. Evans and Raynold Gideon, was instructed to strengthen the adult love story while reducing alien and supernatural elements. This fit well with what John Carpenter wanted. In a contemporary interview Carpenter expressed his desire to emphasise the “old-fashioned” road movie and romance over technology and special effects, and described the story as “It Happened One Night with a sci-fi premise.” Thus Starman remains both an outlier in Carpenter’s career but still very much ‘his’ film. Screenwriter Dean Riesner is actually not credited as such; this was the result of the Writer’s Guild ruling his contribution was not sufficient to displace Bruce A. Evans and Raynold Gideon’s work (they originated the story and wrote the initial two drafts), something which irked Carpenter; who intended to have a text card explain Riesner’s contribution in the credits. The decision to release the film&nbsp;as John Carpenter’s Starman was determined after polling moviegoers, who indicated that the director’s name denoted a certain cachet. There is a certain irony to this given that Carpenter’s 1982 sci-fi horror film The Thing is widely regarded to have been critically overshadowed on release by box office juggernaut E.T the same year. &nbsp;Now Carpenter was directing a&nbsp;film&nbsp;very similar to Spielberg’s, with a final form directly affected by that&nbsp;film’s success. <img width="4252" height="2700" width_o="4252" height_o="2700" data-src="https://freight.cargo.site/t/original/i/306fa4d7645796733b7f5dfb17a008dc1e1cfd3ac6ac23a721e9a0069f41bf46/36_Starman_Stills_04.jpg" data-mid="205344609" border="0" src="https://freight.cargo.site/w/1000/i/306fa4d7645796733b7f5dfb17a008dc1e1cfd3ac6ac23a721e9a0069f41bf46/36_Starman_Stills_04.jpg" /> This is one of the few John Carpenter films which doesn’t feature a score written by himself. Jack Nitzsche’s evocative music nevertheless fits well with Carpenter’s synth-based style, and Carpenter often performs it live during his tours. The main theme featured on Carpenter’s 2017 compilation album Anthologies. Starman’s transformation sequence is one of the more obvious clues that this is the director of The Thing at work, in a film&nbsp;that’s otherwise more family-friendly. This sequence is credited to Dick Smith, Rick Baker, and Stan Winston, three of the greats in their fields of makeup and animatronic effects. Starman earned generally positive reviews but was not a box office smash. Still, star Jeff Bridges earned an Academy Award nomination for his performance, and the 1980s saw science fiction films increasingly gain notice by the Academy for their acting elements; a sign of the genre’s increasing respectability. Two years later Sigourney Weaver would earn an acting nomination for her role in Aliens. BUCKAROO BANZAI ACROSS THE 8TH DIMENSION! RELEASED: 10 August 1984 THE PLOT Directed by the writer of the 70’s Invasion of the Body Snatchers and John Carpenter’s Big Trouble in Little China, this description-defying genre mashup stars a pre-Robocop Peter Weller as physicist-neurosurgeon-martial arts master-secret agent-rock star Buckaroo Banzai, battling aliens from the 8th dimension. An ahead-of-its-time and of-its-time film&nbsp;which counts&nbsp;filmmakers like Wes Anderson among its fans. <img width="3658" height="2418" width_o="3658" height_o="2418" data-src="https://freight.cargo.site/t/original/i/7bf5388b39ed9c1bf397461f12a840e69f4a2e88b682a617a4ae70201569db84/group.jpg" data-mid="205344950" border="0" src="https://freight.cargo.site/w/1000/i/7bf5388b39ed9c1bf397461f12a840e69f4a2e88b682a617a4ae70201569db84/group.jpg" /> CAST/CREW Director: W.D. Richter Writer: Earl Mac Rauch Cast: Peter Weller as Dr. Buckaroo Banzai John Lithgow as Dr. Emilio Lizardo / Lord John Whorfin Ellen Barkin as Penny Priddy / Peggy Banzai Jeff Goldblum as Dr. Sidney Zweibel / "New Jersey" Christopher Lloyd as John Bigbooté Lewis Smith as Tommy "Perfect Tommy" FACTOIDS Apart from writing the 70’s Invasion of the Body Snatchers and John Carpenter’s Big Trouble in Little China, director W.D Richter was notable for his Oscar nod for the script for the Robert Redford film Brubaker. Writer Earl Mac Rauch earned fame as the writer of Martin Scorsese’s New York, New York. Richter first discovered Rauch while he was still a student at USC. At the time, Richter was also a script analyst for Warner Brothers, and was gripped by Mac Rauch's second novel, Arkansas Adios. Richter contacted Rauch through his publisher for permission to adapt his works into a screenplay, which years later resulted in them settling on trying to make a film of Rauch’s Buckaroo Banzai character. Richter’s new production company got the script into the hands of MGM/United Artists head David Begleman, who went on to form Sherwood; a small but powerful production company. Begleman exercised a buy-out option with United Artists for the property and offered it to rival Twentieth Century Fox. <img width="2438" height="2117" width_o="2438" height_o="2117" data-src="https://freight.cargo.site/t/original/i/4db8193f3e9e9bad74915b3ddc4606d2279e464f4d2f170df1604b32357b607e/chair.jpg" data-mid="205344956" border="0" src="https://freight.cargo.site/w/1000/i/4db8193f3e9e9bad74915b3ddc4606d2279e464f4d2f170df1604b32357b607e/chair.jpg" /> Though released in the decade where the sci-fi franchise blockbuster reached its mature form, Buckaroo Banzai looks, moves and sounds quite different; which is no doubt a key reason why it became a cult classic, helped by the growing home video market. Banzai sports deadpan delivery, an arch tone, a low-fi set and prop aesthetic, genre-defying plotting, and a non-sequitur heavy script. Writer Earl Mac Rauch’s long-gestating screenplay, welded to W.D Richter’s enthusiastic direction, creates a knowing but non-parodic romp laced with the eras proto-new age psychology and countercultural texts, inhaling everything from Star Wars, Close Encounters, NASA, pulp 30s shlock, Orson Welles’s War of the Worlds broadcast, and post-WWII atomic-paranoia and ‘Red’ fifth column scares. The final film represents just one Banzai story Rauch had written in a sprawling universe (the trailed sequel at the end of the film is not entirely a joke). The cast is a murderer’s row of future sci-fi icons; including the future Robocop, the future Doctor Emmett Brown, the future Dr. Ian Malcolm/David Levinson, and the future Sergeant Zim/Kurgan. Peter Weller, a stage performer/musician -turned-screen actor who later would set up a sextet with fellow jazz lover Jeff Goldblum, was not the first choice of the studio but notably played Buckaroo totally straight-faced. Weller still claims today to not have a clue what the film is about. The pivotal role of Dr. Emilio Lizardo was given to the established John Lithgow. Initially, the studio had suggested an unknown for the part. But Earl Mac Rauch, who had written the Strangelove-like character with Lithgow in mind, was determined to see him play the role, with deranged results thanks in no small part to Italian dialect coaching from the set’s tailor. <img width="3690" height="2446" width_o="3690" height_o="2446" data-src="https://freight.cargo.site/t/original/i/b3674467e7fbfc8a2058ff21e0272986cbfedbf7d05fdae8925fc9de03f4d23c/woman.jpg" data-mid="205344995" border="0" src="https://freight.cargo.site/w/1000/i/b3674467e7fbfc8a2058ff21e0272986cbfedbf7d05fdae8925fc9de03f4d23c/woman.jpg" /> Banzai was in an unlikely home at major studio Twentieth Century Fox, which offered a $12m budget. Like many left-field films of the era (including this marathon’s own Repo Man), Banzai had a tortured rollout due to studio meddling. Fox’s supportive executives left mid-production leaving producer David Begelman to clash with Richter and attempt to cut scenes in post-production, there were demands for the cinematographer to be fired, and the studio ultimately had no idea how to market the final product (Peter Weller has described being asked himself by studio marketing staff “how do we market this thing?”). The film was pulled from theatres quickly. Perhaps unsurprisingly, Banzai was not a critical or commercial hit (grossing a mere $6 million on release). Time has been kinder: today it enjoys special edition releases on blu-ray, anniversary Q&amp;A screenings, affectionate features in film magazines, and established filmmakers openly reference it. Directors who admire the film include Wes Anderson, who modelled a key scene in his 2004 film The Life Aquatic with Steve Zissou on Banzai’s music-video style group-walk end credits. Star Trek has a long history of referencing Banzai, from mentions of overthruster oscillators to an SS Buckaroo Banzai captained by John Whorfin. REPO MAN RELEASED:&nbsp; 2&nbsp;March 1984 THE PLOT British writer-director Alex Cox somehow got this grotty, hardcore punk-infused Reagan-era satire into the lap of major distributor Universal Studios as his debut film. The legendary Harry Dean Stanton stars as a weathered car repossessor in a weirded-out Los Angeles alongside Emilio Estevez as the nihilistic middle-class punk under his wing. The job becomes more than they bargained for when they get involved in repossessing a mysterious Chevy Malibu with a hefty reward attached to it and something freaky in the trunk. Featuring the ultimate early-eighties LA punk soundtrack with an earworm Iggy Pop title song. <img width="4484" height="3240" width_o="4484" height_o="3240" data-src="https://freight.cargo.site/t/original/i/809a853b6d3cb06437bb8221a746f7d87cc84e0a97e062bd162a1b2e5e3deb60/5320_00018.JPG" data-mid="205345047" border="0" src="https://freight.cargo.site/w/1000/i/809a853b6d3cb06437bb8221a746f7d87cc84e0a97e062bd162a1b2e5e3deb60/5320_00018.JPG" /> CAST/CREW Director: Alex Cox Writer:Alex Cox Cast: Harry Dean Stanton as Bud Emilio Estevez as Otto Maddox Tracey Walter as Miller Olivia Barash as Leila Sy Richardson as Lite Vonetta McGee as Marlene Richard Foronjy as Otto Plettschner Fox Harris as J. Frank Parnell FACTOIDS Repo Man originated in part from short films UCLA graduate and British native Alex Cox had been toying with, and from the experiences of real-life “repo man” Mark Lewis, who Cox spent three months driving around with in Los Angeles repossessing cars from defaulters. Cox had earlier reconnected with two former&nbsp;film&nbsp;school colleagues&nbsp;&nbsp;- producers Jonathan Wacks and Peter McCarthy - who agreed to produce Repo Man in their new Edge City production outfit after reading the first draft.&nbsp; Repo Man became Edge City’s first theatrically-released feature film&nbsp;after they got the script into major studio Universal.&nbsp;&nbsp;How a major studio allowed such a defiantly odd movie to join its slate in 1983 is something of a mystery, but deserving of credit is executive producer Michael Nesmith, who was best known at that time for his role in the television show-rock band The Monkees and supported the&nbsp;film&nbsp;through to greenlight. Director Cox found his debut a challenging shoot, including clashes with star Harry Dean Stanton (who famously declared: "I've worked with the greatest directors of all time. Francis Ford Coppola. Monte Hellman. You know why they're great? Because they let me do whatever the fuck I wanted!”), and the theft of the Chevy Malibu which Cox had actually been using to drive himself around LA when it wasn’t being used in the shoot. Nevertheless, he had a great degree of freedom, including in casting choices and music, and DP Robbie Mueller was already something of a legendary figure and highly respected by all on set. <img width="4484" height="3240" width_o="4484" height_o="3240" data-src="https://freight.cargo.site/t/original/i/dec45abbd07add3553164a6917c838b1fb5bd4130a98f0bb95e3f0776918ce7f/5320_00047.JPG" data-mid="205345051" border="0" src="https://freight.cargo.site/w/1000/i/dec45abbd07add3553164a6917c838b1fb5bd4130a98f0bb95e3f0776918ce7f/5320_00047.JPG" /> According to Cox, most of the dialogue was lifted from his adventures with Mark Lewis and his colleagues, including the reference to pine tree air fresheners and “tense” situations. Miller's rambling tale about John Wayne being gay were based on stories told to Cox by a Venice eccentric named Swatty. He had worked for a glass company and insisted that he'd installed two-way mirrors in Wayne's home, and that the star had answered the door in a dress. As for the “repo code”, actor Harry Dean Stanton is credited with bringing disparate elements of dialogue together to form it. A lot of the special effects were quick fixes. The aliens seen briefly in the picture were made out of condoms filled with water and dressed up in grass shirts. The hail scene at the end was accomplished by two crew members standing on a plank, dropping ice into the frame from buckets. The glowing car scene involved actually painting a whole vehicle with a reflective substance used for traffic signs, at a costly 600 dollars a bucket. The now-iconic car fresheners and generic food packaging props came about accidentally due to the film’s only sponsorship deals being struck with The Car-Freshener Corporation and Ralph’s Supermarkets; who are thanked in the end credits. The film is known for its superb contemporary soundtrack, featuring American punk bands like Fear, the Circle Jerks, Plugz and Black Flag, as well as a specially commissioned "Repo Man" theme by Iggy Pop (performed by Sex Pistols and Blondie band members). Cox visited Iggy personally at his apartment, to explain the movie to him and request that he do a song for the soundtrack. Drawn by the carte blanche nature of the commission, Iggy apparently wrote the catchy title song in just minutes before performing it. Like another film&nbsp;in this marathon - Buckaroo Banzai - Repo Man suffered from studio jitters during production and release. Universal pulled the film from distribution due to poor earnings after just a few weeks; Cox attributed the withdrawal to a change in command at Universal. The studio tried a variety of bizarre marketing approaches to reposition the&nbsp;film, aiming to attract a mainstream, teen audience by repackaging the arthouse&nbsp;film&nbsp;as a sentimental, romantic comedy with less provocative, crucifix earring-free poster art. The studio came under pressure from parent company, MCA, to keep the film&nbsp;in circulation because the Repo Man punk-infused soundtrack was proving such a success. The soundtrack not only resurrected the theatrical run, it also stoked interest in the video release;&nbsp;Repo Man had the serendipity to enter the VHS market during the golden age of video stores. <img width="4484" height="3240" width_o="4484" height_o="3240" data-src="https://freight.cargo.site/t/original/i/4c430ea9a17a44279547c8cd52f10d4c5aca85404f1c9e7b4aa3f6d4168713b9/5320_00218.JPG" data-mid="205345054" border="0" src="https://freight.cargo.site/w/1000/i/4c430ea9a17a44279547c8cd52f10d4c5aca85404f1c9e7b4aa3f6d4168713b9/5320_00218.JPG" /> Despite the marketing and release debacle, Repo Man actually was received with critical acclaim. The New York Times congratulated the first-time filmmakers for providing “a most engaging reprieve from Hollywood’s general run of laid-back comedies of simulated nastiness and half-baked nonchalance” whilst noted Chicago critic Roger Ebert claimed that it gave him "one of the biggest laughs I'd had at the movies in a long time." If you didn’t catch Repo Man at the cinema or on VHS, there was the infamously edited television version of Repo Man; with “flip you” and “melon farmer” dubbed over saltier insults. Repo Man was followed by two spinoffs; Waldo’s Hawaiian Holiday was published as a graphic novel in 2008, and Repo Chick was released in 2011. In February this year it was announced Cox was working on a theatrical sequel: Repo Man 2: The Wages of Beer. --- Starman © 1984 Columbia Pictures Industries, Inc. All Rights Reserved. Repo Man&nbsp;Images courtesy of Park Circus/Universal The Adventures of Buckaroo Banzai Across the Eighth Dimension © 1984 Orion Pictures Corporation. All Rights Reserved. https://screensofmatter.com/About Mon, 15 Aug 2022 18:26:24 +0000 Screens of Matter https://screensofmatter.com/About About Screens of Matter is a cinema development project, specialising in screening science fiction films. The long-term aim of the company is to secure a permanent premises in Bristol (UK), to build on venue capacity in the city. The project also aims to attract and support neurodiverse audiences by testing ideas to create more inclusive cinema environments.&nbsp; In 2022 we led a workshop at BristolCon and captured some fantastic ideas from a group of sci-fi fans (photo robotted for their privacy). &nbsp; <img width="2735" height="2390" width_o="2735" height_o="2390" data-src="https://freight.cargo.site/t/original/i/26cd28868cfeb56c08cc132a62955ef60e28cc5e24b9d3c45960c057a63133d7/IMG_1595.jpeg" data-mid="200919740" border="0" src="https://freight.cargo.site/w/1000/i/26cd28868cfeb56c08cc132a62955ef60e28cc5e24b9d3c45960c057a63133d7/IMG_1595.jpeg" /> <img width="1024" height="536" width_o="1024" height_o="536" data-src="https://freight.cargo.site/t/original/i/bbd957e8b534382d6945d6098d36567ef95201b969332bba33a6a92372fdb0a1/IMG_1609.JPG" data-mid="200919754" border="0" src="https://freight.cargo.site/w/1000/i/bbd957e8b534382d6945d6098d36567ef95201b969332bba33a6a92372fdb0a1/IMG_1609.JPG" /> This stemmed from our desire to create a space that could create conversations about film and host events to bring more people into the collective experience of film screenings. Especially those who might experience social anxiety.&nbsp;What could a genre-led space look like? Out of this world but ready to board. We’re aiming to open an accessible, 100 seat space in central Bristol close to transport links.&nbsp; <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/9b8d442b8ac056b98cb8d9118039bd5913c14bffc55ad9cfd6bdd00999018d11/Martian-House-1-article.jpg" data-mid="200918891" border="0" src="https://freight.cargo.site/w/1000/i/9b8d442b8ac056b98cb8d9118039bd5913c14bffc55ad9cfd6bdd00999018d11/Martian-House-1-article.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/db99b3337c803d0c4ed79b30bb8d2442f1fc7d8c172da2936fcb5cc06d45f5be/Social-Crew---Great-Ocean-Rd-Cinemas-100.jpg" data-mid="200918976" border="0" src="https://freight.cargo.site/w/1000/i/db99b3337c803d0c4ed79b30bb8d2442f1fc7d8c172da2936fcb5cc06d45f5be/Social-Crew---Great-Ocean-Rd-Cinemas-100.jpg" /> Image credit: Luke O’Donovan.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Image credit: The Social Crew.&nbsp; <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ed1c5558f8d9c0b892a606baa33b9bf972e03c9512d62be90044bbb303a52533/IMG_2252.jpeg" data-mid="200919176" border="0" src="https://freight.cargo.site/w/1000/i/ed1c5558f8d9c0b892a606baa33b9bf972e03c9512d62be90044bbb303a52533/IMG_2252.jpeg" /> <img width="346" height="348" width_o="346" height_o="348" data-src="https://freight.cargo.site/t/original/i/e670ece8b63c0787fc88eb77a30183dddfda500bc9066773a720de830da69ae0/Screenshot-2024-01-06-at-12.06.24.png" data-mid="200919174" border="0" src="https://freight.cargo.site/w/346/i/e670ece8b63c0787fc88eb77a30183dddfda500bc9066773a720de830da69ae0/Screenshot-2024-01-06-at-12.06.24.png" /> &nbsp; Why not just do pop up events? We believe, like all cultural venues, film screening spaces deserve permanent homes. In Bristol we’re lucky to have some excellent venues and film festivals, we want to add to this community with a genre-led space. See our research page to read a new report released in 2023 about the econmonic value of UK cinemas.&nbsp; In 2023 we explored potential spaces in the city and started a dialogue with Lotto Community Fund to create a venue development budget. Thank you to Sparks Bristol who helped us to think about how cinema could be housed in a former shopping centre. In 2022 and 2024 we secured funding from Film Hub South West to run two events. These have and will enable us to gather audience audience, to support a venue space funding bid.&nbsp; <img width="2608" height="1120" width_o="2608" height_o="1120" data-src="https://freight.cargo.site/t/original/i/b16eeb1f76fcd7db91480a16e48bc62533f31ed95cb4241dfaf3d6ab78d201a9/Screenshot-2023-04-10-at-21.07.16.png" data-mid="199241167" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/b16eeb1f76fcd7db91480a16e48bc62533f31ed95cb4241dfaf3d6ab78d201a9/Screenshot-2023-04-10-at-21.07.16.png" /> Image of potential space in the former Marks and Spencer in Broadmead, Bristol.&nbsp; This seating mock up was kindly designed by Evertaut ltd, to help us cost building a 100+ seat accessible venue. This includes a projection room and storage.&nbsp; <img width="1882" height="1300" width_o="1882" height_o="1300" data-src="https://freight.cargo.site/t/original/i/f17bdc0cdfec16eaa8164d089521aceefa0d28545b5c122c3fb400fdc4a3ce0e/seats.jpg" data-mid="199241211" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/f17bdc0cdfec16eaa8164d089521aceefa0d28545b5c122c3fb400fdc4a3ce0e/seats.jpg" /> In 2024, we used the audience data we’d collected from our first two screening events, to prove that there’s community interest to then apply for enough funding to trial opening a small space. It may take form as a shipping container or in an empty shop - this remains the core mission.&nbsp; In 2025 our project featured in the documentary The Big Picture by&nbsp;Arthur Cauty. Our 2027 team Founder/Producer/mothership | Emmeline RodmanEmmeline is a Bristol based producer who currently works in the charity and education sectors. She is an experienced events manager and lectures in events management and print design. She is proudly neurodiverse. Science fiction films provide her with a place of solace and she’s always looking to grow her clan/hive mind.&nbsp; Programme advisor for 2022,2024 &amp; 2027 | Owen Van SpallOwen is a London based film programmer for a major arts venue. He has worked in a variety of cinemas for nearly a decade, from pop-up events to community projects across the UK. He is a film history postgraduate and has also worked in the comic book publishing industry. &nbsp;Our 2024 team included: Marketing lead for 2024 | Sal Creber @salcreberSal is a Bath based freelancer and film studies graduate. Their human job is in retail, but more importantly they are also taking part in the Beyond Boundaries programme. They are enthusiastically autistic and transgender, with a lifelong love of sci-fi and horror films, and what they represent to the neurodiverse and LGBT+ community. <img width="1764" height="1346" width_o="1764" height_o="1346" data-src="https://freight.cargo.site/t/original/i/b64993b66075deee235d51ad96dc41739701df578b6cea5c75ebf8161ca101d9/Screenshot-2024-02-27-at-22.23.57.png" data-mid="205611077" border="0" src="https://freight.cargo.site/w/1000/i/b64993b66075deee235d51ad96dc41739701df578b6cea5c75ebf8161ca101d9/Screenshot-2024-02-27-at-22.23.57.png" /> What have we done do far? Our 2022 launch event was a double bill film screening exploring the beloved comic book character Judge Dredd. If you'd like to support this project and get involved with Screens of Matter, please contact us at hello@screensofmatter.com. In 2027 we'll be forming a film programming steering group and much more. Stay in our gravitational pull of information by signing up to our mailing list and follow us on social media. Thank you to everyone who has supported us, so far with funding, time and resources:Film Hub South West team, Bristol Aquarium team, 20th Century Flicks team, Bimm Bristol (students), Bristol Con.&nbsp;Screens of Matter's landing page website artwork was created by galactic artist Luke Oram.&nbsp; https://screensofmatter.com/Dredd-2022 Tue, 12 Dec 2023 12:09:53 +0000 Screens of Matter https://screensofmatter.com/Dredd-2022 Our 2022 event | Judge Dredd Vs Dredd &nbsp; In November 2022 we screened a double bill of Judge Dredd (1995) Vs Dredd (2012) at the former IMAX at Bristol Aquarium, introduced by special guest speaker Mark Digby. The screening was made possible with the support of the BFI Film Audience Network, awarding funds from the National Lottery in order to bring this project to more audiences across the South West.Students from Bimm supported our social media campaign and also during the event. Here’s an overview of their site visit.&nbsp; Thank you to the Film Hub South West team, based at the Bristol mothership of film, Watershed. Also thanks to the amazing tardis of movies 20th Century Flicks and to our venue, the former IMAX at Bristol Aquarium. PRESS Bristol 24/7 article launching the event &nbsp; The Cosmic Shed interview with Emmeline Rodman and her season programmer Owen Van Spall.Film screening/distribution rights were provided by Entertainment Film Distributors Ltd and Park Circus Ltd. Judge Dredd is a fictional character created by writer John Wagner and artist Carlos Ezquerra, who first featured in the comic 2000AD in 1977. The comic 2000AD is published by Rebellion Publishing. <img width="888" height="178" width_o="888" height_o="178" data-src="https://freight.cargo.site/t/original/i/088ee269d88fe26805602373c6bbe25c086c22db92035caeb1bf4bb33dfd47e6/fam2.jpg" data-mid="199235690" border="0" data-scale="45" src="https://freight.cargo.site/w/888/i/088ee269d88fe26805602373c6bbe25c086c22db92035caeb1bf4bb33dfd47e6/fam2.jpg" /> <img width="1270" height="984" width_o="1270" height_o="984" data-src="https://freight.cargo.site/t/original/i/344a3576a1a13b6c35c789e676f21ef1450bf21832c8c261c9d29780e60188e4/IMG_1822x.jpg" data-mid="199238962" border="0" src="https://freight.cargo.site/w/1000/i/344a3576a1a13b6c35c789e676f21ef1450bf21832c8c261c9d29780e60188e4/IMG_1822x.jpg" /> <img width="1398" height="1350" width_o="1398" height_o="1350" data-src="https://freight.cargo.site/t/original/i/de008fd73a17d9b0602aa6f1e22c353b3f82b61b49183fb341bf8976a2e3ccb4/lobby.jpg" data-mid="199240171" border="0" src="https://freight.cargo.site/w/1000/i/de008fd73a17d9b0602aa6f1e22c353b3f82b61b49183fb341bf8976a2e3ccb4/lobby.jpg" /> <img width="1698" height="2449" width_o="1698" height_o="2449" data-src="https://freight.cargo.site/t/original/i/ab981e66762a659b7815016de071b0f3d6349332fa49fcd31f9b5ddb40ff8f0f/IMG_1836.jpeg" data-mid="200924511" border="0" src="https://freight.cargo.site/w/1000/i/ab981e66762a659b7815016de071b0f3d6349332fa49fcd31f9b5ddb40ff8f0f/IMG_1836.jpeg" /> https://screensofmatter.com/Film-in-Bristol Wed, 13 Dec 2023 09:56:53 +0000 Screens of Matter https://screensofmatter.com/Film-in-Bristol Bristol Film venues, clubs, collectives &amp; festivals: <img width="180" height="148" width_o="180" height_o="148" data-src="https://freight.cargo.site/t/original/i/e0b5aafb1cab20325dae2fa008531c04bdcddcd8db7b3a08b4c2cf63f5e13a5a/newbeef-e1440138382455.jpg" data-mid="209897319" border="0" src="https://freight.cargo.site/w/180/i/e0b5aafb1cab20325dae2fa008531c04bdcddcd8db7b3a08b4c2cf63f5e13a5a/newbeef-e1440138382455.jpg" /> Bristol Experimental Expanded Film (BEEF) <img width="477" height="570" width_o="477" height_o="570" data-src="https://freight.cargo.site/t/original/i/13a0ce407912b312f035199be197f49f18e6233b5037bea6ea2cb12be187bdf7/BBFC.jpg" data-mid="199275534" border="0" data-scale="15" src="https://freight.cargo.site/w/477/i/13a0ce407912b312f035199be197f49f18e6233b5037bea6ea2cb12be187bdf7/BBFC.jpg" /> Bristol Bad Film Club <img width="400" height="400" width_o="400" height_o="400" data-src="https://freight.cargo.site/t/original/i/c45c36bf6216320ae0374818e442bfab3d3d0292b2bf0ccafbfb1531219d6e00/mdzeqQPa_400x400.png" data-mid="199275599" border="0" data-scale="17" src="https://freight.cargo.site/w/400/i/c45c36bf6216320ae0374818e442bfab3d3d0292b2bf0ccafbfb1531219d6e00/mdzeqQPa_400x400.png" /> Bristol Black Horror Club <img width="451" height="167" width_o="451" height_o="167" data-src="https://freight.cargo.site/t/original/i/741d5e597f11a46f019a30fb7a01059c1c3b7521b393422ab3003695ec539535/Black-Logo-Plain-small.png" data-mid="199275461" border="0" data-scale="24" src="https://freight.cargo.site/w/451/i/741d5e597f11a46f019a30fb7a01059c1c3b7521b393422ab3003695ec539535/Black-Logo-Plain-small.png" /> Bristol Film Festival <img width="608" height="951" width_o="608" height_o="951" data-src="https://freight.cargo.site/t/original/i/3029375009f530fe211e28e2222d87aa25da78f0e7c6dbb40f0717009d65670e/bristol-logo-2-1.png" data-mid="199276887" border="0" data-scale="15" src="https://freight.cargo.site/w/608/i/3029375009f530fe211e28e2222d87aa25da78f0e7c6dbb40f0717009d65670e/bristol-logo-2-1.png" /> Bristol Independant Film Festival <img width="404" height="125" width_o="404" height_o="125" data-src="https://freight.cargo.site/t/original/i/a3edba5dcdf27cdeb334bae939f59a9489112771d9423f1337e8afe3e2026a5d/images.png" data-mid="199275451" border="0" data-scale="25" src="https://freight.cargo.site/w/404/i/a3edba5dcdf27cdeb334bae939f59a9489112771d9423f1337e8afe3e2026a5d/images.png" />Cube Microplex Cinema <img width="1500" height="258" width_o="1500" height_o="258" data-src="https://freight.cargo.site/t/original/i/6bb7862989cdd074fa8a72b526b2dc38ed5f8014ce15938e88e1d36f76a515b8/Encounters_Logo_Reversed_RGB.png" data-mid="199275396" border="0" data-scale="27" src="https://freight.cargo.site/w/1000/i/6bb7862989cdd074fa8a72b526b2dc38ed5f8014ce15938e88e1d36f76a515b8/Encounters_Logo_Reversed_RGB.png" /> Encounters Film Festival <img width="600" height="70" width_o="600" height_o="70" data-src="https://freight.cargo.site/t/original/i/3ca0eb06cb997ca65823f09001d67686066fee70b5678971abe850da8af94f76/download.png" data-mid="199276855" border="0" data-scale="39" src="https://freight.cargo.site/w/600/i/3ca0eb06cb997ca65823f09001d67686066fee70b5678971abe850da8af94f76/download.png" /> Everyman Cinema (chain) <img width="1500" height="500" width_o="1500" height_o="500" data-src="https://freight.cargo.site/t/original/i/590120271bb32349da496b307c220ca6446a0117c7e7da2b7905ec05019de900/UPDATED-Feb-10-banner.jpg" data-mid="199276430" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/590120271bb32349da496b307c220ca6446a0117c7e7da2b7905ec05019de900/UPDATED-Feb-10-banner.jpg" /> Forbidden Worlds Film Festival <img width="676" height="200" width_o="676" height_o="200" data-src="https://freight.cargo.site/t/original/i/cd0cf22084b68fbc65699f6a3ff79aeebcf1eead38d05675653e0fd73ab95a94/Screenshot-2023-12-13-at-10.29.47.png" data-mid="199276648" border="0" data-scale="34" src="https://freight.cargo.site/w/676/i/cd0cf22084b68fbc65699f6a3ff79aeebcf1eead38d05675653e0fd73ab95a94/Screenshot-2023-12-13-at-10.29.47.png" /> Bristol Palestine Film Festival <img width="354" height="50" width_o="354" height_o="50" data-src="https://freight.cargo.site/t/original/i/3286e260ecee293d3008b3e9c7e4897782575b738b7b4352594e1878a46463f5/scottcinemas_main_logo_lr.png" data-mid="203241488" border="0" src="https://freight.cargo.site/w/354/i/3286e260ecee293d3008b3e9c7e4897782575b738b7b4352594e1878a46463f5/scottcinemas_main_logo_lr.png" /> Scott Cinemas&nbsp; <img width="746" height="308" width_o="746" height_o="308" data-src="https://freight.cargo.site/t/original/i/9b832fd60eeb28c26c40d8aa47e2a1ee2ad4e35e70c9c82d6d256693a3c40135/Screenshot-2023-12-13-at-10.22.26.png" data-mid="199276538" border="0" data-scale="31" src="https://freight.cargo.site/w/746/i/9b832fd60eeb28c26c40d8aa47e2a1ee2ad4e35e70c9c82d6d256693a3c40135/Screenshot-2023-12-13-at-10.22.26.png" /> Slapstick Silent Film &amp; Visual Comedy Festival <img width="204" height="204" width_o="204" height_o="204" data-src="https://freight.cargo.site/t/original/i/382a82f9e59da32892ed58d09b91aa3fce80aa94de5ba0eb7145a1a119d9de38/images-1.png" data-mid="199276594" border="0" data-scale="17" src="https://freight.cargo.site/w/204/i/382a82f9e59da32892ed58d09b91aa3fce80aa94de5ba0eb7145a1a119d9de38/images-1.png" /> South West Silents&nbsp; <img width="712" height="570" width_o="712" height_o="570" data-src="https://freight.cargo.site/t/original/i/8291e5a70d3610948d2c48e5cda59f8afc868063eb335ea4f142e46f720e1c60/Screenshot-2023-12-13-at-09.59.17.png" data-mid="199275178" border="0" data-scale="19" src="https://freight.cargo.site/w/712/i/8291e5a70d3610948d2c48e5cda59f8afc868063eb335ea4f142e46f720e1c60/Screenshot-2023-12-13-at-09.59.17.png" />&nbsp;20th Century Flicks Video Shop <img width="641" height="642" width_o="641" height_o="642" data-src="https://freight.cargo.site/t/original/i/f5ab6f8e66b56901909e06a6d65822ed0b16edfbc91cfa5324822f6349383a1b/284921351_482217023655317_4149207399477112275_n.jpg" data-mid="199277394" border="0" data-scale="18" src="https://freight.cargo.site/w/641/i/f5ab6f8e66b56901909e06a6d65822ed0b16edfbc91cfa5324822f6349383a1b/284921351_482217023655317_4149207399477112275_n.jpg" /> University of Bristol Film Society <img width="695" height="125" width_o="695" height_o="125" data-src="https://freight.cargo.site/t/original/i/6fd52ebc4c6d143be118a0e2dbe0ad819a8ce0327c3fc2c2af121977961d0bc3/watershed_logo_to_use_2019_04_15_11_40_23_am-695x130.png" data-mid="199275412" border="0" data-scale="28" src="https://freight.cargo.site/w/695/i/6fd52ebc4c6d143be118a0e2dbe0ad819a8ce0327c3fc2c2af121977961d0bc3/watershed_logo_to_use_2019_04_15_11_40_23_am-695x130.png" /> Watershed <img width="680" height="580" width_o="680" height_o="580" data-src="https://freight.cargo.site/t/original/i/94851e87a07be399299b7d14e45eba0933524af13646678c1b7666482fcd2304/Screenshot-2023-12-13-at-10.41.04.png" data-mid="199277209" border="0" data-scale="21" src="https://freight.cargo.site/w/680/i/94851e87a07be399299b7d14e45eba0933524af13646678c1b7666482fcd2304/Screenshot-2023-12-13-at-10.41.04.png" /> Bristol City of Film&nbsp; https://screensofmatter.com/Support Mon, 15 Aug 2022 18:26:26 +0000 Screens of Matter https://screensofmatter.com/Support Support Welcome. By visiting this site you’ve already shown your support for this project. Here are three more ways to support this work... ︎ 1. Sign up to the newsletter (join our hive mind ︎). We’ll send you the latest info about our upcoming 2026/7 events and project developments. ︎&nbsp;2. Volunteer. SoM is a very small human team which could always do with more help. There’s a film programming steering group (meets online), event helpers and many more small roles which support us. To find out more please email Emm at hello@screensofmatter.com ︎ 3. Become a SoMp (Screens of Matter Patron). In 2027, we’ll be announcing ways to donate to this project, enabling us to open the world’s first Sci-Fi cinema.&nbsp; https://screensofmatter.com/Contact Mon, 15 Aug 2022 18:26:28 +0000 Screens of Matter https://screensofmatter.com/Contact Contact hello@screensofmatter.com ︎&nbsp; ︎ To join our mailing list CLICK HERE (opens new window).&nbsp;