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An Interview with A.G.R. Moore – The Unseen Chronicles of Amelia Black

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18/09/2011 By In Cool, Featured

Sitting in a historical part of Belfast, I’ve Google mapped my way to what looks like an old fashioned Whiskey bar, that doesn’t sell whiskey.  The elusive nature of the character I’m meeting makes me aware of everything around me.  The sandwich menu on the other hand looks great.  The smell of peppermint tea draws me to take a seat.  A man sitting alone on a stool at the far end of the bar gets up and takes the seat opposite, really that obvious?  Notepad in hand, yes I suppose I am.  The figure in question is A. G. R. Moore, the creative force behind ‘The Unseen Chronicles of Amelia Black’. 

LS: ‘The Unseen Chronicles of Amelia Black’ is your debut novel, have you always wanted to write?

AM: I don’t think I originally had this desire to write, but I’ve always yearned to do something creative. I think during my teens I must have tried one or two times at writing a novel but never really knew how to approach it. Usually ended up being some post modern piece of tosh, which I thought I could write during my Douglas Coupland phase of reading. I was wrong and never managed to make it past the first chapter. The idea quickly passed from the age of 16 until about 21 I was in and out of bands and played shows around Ireland.

Then when I started writing film reviews and decided to pursue journalism as a career path, I was presented the opportunity again to have a go at writing something more fantastical by Gillian [Reid] and what initially started out as a piece of fun inevitably turned into a mild obsession. That obsession of course resulted in ‘The Unseen Chronicles of Amelia Black’.

LS: You’ve taken the most recent alternative publishing mode that’s becoming really popular amongst emerging writers, e-publishing.  Many see e-books as a bold step, how have you found the process? 

AM: I’ve found it really straightforward and a brilliant way for proactive indie authors to get their work out there to a wider audience. Like many aspiring writers I found the traditional route extremely daunting and in this climate all too disheartening, so when I stumbled across a few articles explaining the few success stories of e-publishing, particularly the success of Amanda Hocking, I figured there was little harm in trying the method.

I think its only main disadvantage is you don’t have a publishing house helping you out with a full blown marketing campaign so it requires you to be a little bit more creative in how you sell it on the internet and beyond. Though if you’re just looking to get your name out there and get some feedback on your writing, I’ve luckily been treated very kindly so far in the realms of Twitter and Facebook, I’d recommend it to anyone.

LS: Your characters remind me of the sort of mystical adventure books I read lots of as a child, somewhere between the imagination of Roald Dahl and Lemony Snicket, did you have any particular influences for this novel?

AM: I’d say Roald Dahl has definitely played a huge part in the way I write. His books, even his darker short stories that are aimed at older audiences, just have this magical quality to them. I’ve always found his ability to both spellbound his readers as well as terrify the daylights out of them just fascinating and completely wonderful. Actually, besides my note books for which I scribble down ideas, the only book that forever remains on my desk is Dahl’s Treasury which I often look to during those times I’m in great need of inspiration.

Besides Dahl, I’ve found particular pleasure in the books of Lemony Snicket’s ‘A Series of Unfortunate Events’, and to a degree I think my own writing voice comes out of his. Though I don’t think anyone has changed the way I look at fantasy, as a genre, more so than Neil Gaiman. From his brilliant work on The Sandman graphic novels to the excellent American Gods he’s brought an urban grittiness and a lot of real world sensibilities to fantasy. Someone I admire greatly, and if I ever manage to write a novel even half as good as him I’ve done way better out of this than I could imagine.

Another pot of tea arrives, this time berry fruit.  Watching the steam rise and swirl I’m reminded of how the novel’s illustrations and how they really add that extra edge to the story. 

LS: The illustrations by Gillian Reid are stunning, with a classical sketch feel to them, but nothing is spared on the descriptive quality they bring to the book.  How was it seeing your characters take form from somebody else’s imagination?

AM: Honestly I shed a little tear the first time I ever saw the completed and final design of Amelia Black. It was such an incredible feeling to know I created this character and frankly if it weren’t for Gillian suggesting I should write something, so she could illustrate it, I probably wouldn’t be here having this conversation. We’ve been friends for years now and have always thought on a similar wave length so when it came to the illustrations she pretty much nailed the faint images I had in my head, of the characters, while writing it.

Where Gillian comes into a league of her own though is in her attention to detail such as the small floral designs on Amelia’s dress or the way she captures the epic landscapes with such confined spaces, even the way the smoke emanates from Sid’s pipe. I feel because this is only my first novel, and I’m still learning every single day, I still haven’t thought as deeply as that yet and with time I hope I’ll incorporate such detail into my books to come.

As light and fluffy as it might sound, it’s something that rings true to me, but I always like to put it that Gillian Reid believed in me, and that made me believe in Amelia Black.

LS: Amelia Black encounters some really bizarre characters in her adventures, can you give readers a little taste of what to expect?

AM: I would, but I’d probably spoil the surprise of what’s to come. The Unseen Universe, Amelia Black finds herself in, contains thousands of different fantasy creatures, some you would already be familiar with, like pixies and fairies (there’s a difference…) or giant furry beasts, some with hearts of gold and others not so much. I also have a big fascination with the whole Steampunk movement and that technological element comes into play sometimes, particularly with one of the much darker characters, a sinister soul known simply as, The Mother.

LS: Amelia Black is a very intriguing character in her own right, as the protagonist she reminds me a bit of Alice in ‘Alice’s Adventures in Wonderland’ or Lucy in ‘The Lion, the Witch and the Wardrobe’.  These are novels that share the children’s fantasy element, but also the appeal for older audiences.  Did you have a target audience in mind when creating Amelia?

AM: I try not to mention him too often in fear of unjust comparisons, but I think it’s fair to say I tried to write the story so children and adults can both enjoy it, in a similar way Harry Potter has managed to captivate millions of readers of all ages. I think adults deserve an enthralling, dark, adventure just as much as children do. There’s definitely an underlying ‘older’ humour, especially in Sid that always makes me smile.

At first I never tried to base Amelia on anyone specific, I figured she wasn’t a wizard or a witch or a vampire and just went on the simple depiction of how I first described her, that she’s a “kind, curious and wonderful soul” and just went with it.

Strangely someone, who had been reading the story, told me last week, Amelia Black is how she imagined Mary Poppins to be as a little girl. I thought that was the greatest compliment ever bestowed on the little girl.

LS: And finally the question I’ve been dying to ask from the start, are there any plans for more adventures with Amelia?

AM: Anyone who has read the book will know this but I can confirm she will return in ‘The Unseen Trials of Amelia Black’ sometime late 2012/early 2013. However before I return to that universe I’ve spent most of 2011 on a new children’s book, which I can’t really talk much about yet, other than (in my head at least) it’s a crossed between Charles Dickens’ ‘Oliver Twist’ and to a lesser extent Roald Dahl’s ‘Matilda’. With a few green tea fuelled late nights and perseverance it should surface in the first quarter of 2012.

One day I’ll grow up and get a real job, but right now I’m just having too much fun.

Lifting my teapot I realise we’ve run out of tea, which is a huge shame because Andrew has been a joy to talk to.  I’d recommend his novel for anybody interesting in new literature, children’s literature, fantasy literature…just everyone really needs to pick up a copy and immerse themselves in his wonderfully crafted worlds. 

‘The Unseen Chronicles of Amelia Black’ is available to purchase from Amazon in kindle format now.

And also available in paperback from Lulu.com

Facebook page: doyoubelieveinameliablack

Red Riding Hood **

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17/04/2011 By In Movies, Reviews

Brought to you by the director of ‘Twilight’ Catherine Hardwicke, there’s definitely a teenage girl draw in the narrative. Not to give away too much, but torn between the man to whom she is betrothed and the man she loves, Valerie finds herself in a similar triangle of love interest as Bella in the ‘Twilight’ saga. This is played on and drawn out to fill the huge gap that would be otherwise present in the plot. Seemingly this is the only way that Hardwicke felt it was okay to tackle a reimagining of the Brothers Grimm classic fairytale. If you’re a fan of ‘Twilight’ then it’ll definitely put a lot of ticks in the narrative satisfaction box. Of course, there’s the eye candy element amplified to appeal for that simple reason.

For those who are looking for a new werewolf flick, then you might be disappointed. Unfortunately it’s hard to mention alongside such werewolf classics as’An American Werewolf in Paris’ and ‘The Company of Wolves’. There’s no big CGI budget and nor is there that one scene that can make or break a werewolf film. It’s distinctly lacking in the expected, but just when you might question whether it’s even a werewolf film it jumps out at you with the same clever twists.

As far as intelligent adaptations go, it’s a pretty fair attempt. Not quite holding its own up against red riding hood, fans of ‘The Village’ and ‘Hard Candy’ will find it a little bland. Similar to ‘The Village’ it’s an odd tale about a small medieval community in a mountainous region, who are haunted by a blood thirsty werewolf. Falling prey to the wolf’s whims for centuries, the residents live in fear and when the regular blood moon truce is broken, things start getting hairy. Singled out and hunted down, Valerie learns that she is the one that the wolf desires. So begins a rather deadly game of who’s who. With one key identifier Valerie must crack the code and expose the wolf to save her village.

Gary Oldman plays the knowledgeable expert Father Solomon who rides into town just in time. Bringing with him armed soldiers and strange ideals, he offers a challenge to the wolf. Quickly taking control of the village and turning it into a fort ready for battle, the attacks come thick and fast as the plot peaks. Mostly a thriller, it takes the horror out of the werewolf film and focuses on becoming a fast paced guessing game.

As far as sets go, it’s well set up and creatively structured. Clearly letting Hardwicke place her mark on her work and making her style unmistakable. Sticking to long shots of dense forests, good costumes and intimate moments of personal affections, it’s not too far off the ‘Twilight’ typical standards. As far as the fairytale element stretches, there are no magical overtones. It’s a human driven plot that like the original dark tale, tells more about community structure. Trust being the key theme, lots can be read into the weave and bob of the guessing and this is something the audience can whole heartedly get stuck into. Still enjoyable as the guessing game unfolds, there’s enough plot to keep you on your toes until the big reveal. Probably not for werewolf film fans, but a really good fairytale adaptation that will speak to younger audiences. Nothing new otherwise.

Rio – Review ****

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17/04/2011 By In Movies, Reviews

Rio is the story of Blu the last remaining male blue Macaw parrot, who just so happens to live in Minnesota not Brazil.  He’s happy in his captivity, flaunting his beauty for his owner of the past 15 years Linda.  The harsh reality of his capture by exotic bird specialists is an issue at the heart of this splendid animation.  A topic that has been on the tip of global tongues and one that is coming to the foreground more often recently.  When a scientist learns of Blu’s existence he offers Linda and Blu the chance to come to Brazil and save the species.

The voice cast is the most striking achievement of the film.  Featuring Will I Am and Jamie Foxx as two street wise birds of the city there’s plenty of laughs for those treating the little ones over the Easter holidays.  The hilarious Jemaine Clement (of Flight of the Conchords fame) steals the show with his portrayal of the evil cockatoo turned ugly, so comedy fans prepare yourselves for one spellbinding rap scene.  Jesse Eisenberg voices Blu the macaw and sadly there’s no stretch of talent here as he’s been clearly type cast again as having that one ability to consistently and convincingly whine his way through another feature.  Anne Hathaway shows off her vocals as Jewel the rebellious and beautiful supposed mate for Blu, but again not a difficult role by any means.  Sergio Mendes’s involvement may not have anything to do with the great soundtrack, but you can be sure he’s had an influence.  Somewhere between the carnival sambas you’d expect and child friendly songs that boast rhythms that’ll have you taping along.

The animation is fantastic.  Twentieth Century Fox proves they’re right up to scratch with main competitors Pixar and Dreamworks.  The characters every face and movement has been skilfully crafted and lovingly laboured over to bring together a wonderfully dimensional finish.  Honestly one of the most entertaining animations out there.  It’s joke a minute, whether slapstick or character invoked there’s always a light hearted feeling that doesn’t die out half-way.  Not being plugged as Rio 3D, thankfully there’s none of the expected quick 3D gags inserted last minute.  Animation fans will revel in this films depth of scope and magnitude of skill in character framework.  Children will laugh the whole way through and it’s doing fantastic in the box office.  Only word of warning…watch out for the monkeys.

 

Rango ****

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19/03/2011 By In Movies, Reviews

Rango

Surprisingly not presented by a well known animation company, Rango shows that it’s independent flourish of originality is on a par with the big studio contenders.  Possibly the best animation this year so far, Rango is a little bit of what you know muddled up with the enigmatic.  A creation to be proud of, it’s surely a work worth the box office success it’s receiving.  The simple tale of Rango, just your ordinary chameleon living inside his desert island of a fish tank, he spends his days dreaming of what could be and questioning who he is.  When an unexpected incident occurs Rango finds himself stranded in the desert alone in desperate need of water.  A quirky character with a passion for acting, he’s not exactly the survival expert that the native creatures of the desert are.  Rango’s adaptability is put to the test when he rides into the town of Dirt, the real Wild West seemingly stuck in the heart of American history.

Directed by Gore Verbinski, there’s no huge reveal to learn that Johnny Depp is voicing the lizard in question.  Working to and relying on those eccentric previous roles, Depp is not at all out of his depth, seemingly more than comfortable as the self-interrogating chameleon.  A surrealist element that feels too delicate at times and in places too much for younger audiences to completely understand, this lizard is an individual on a quest for reinvention.  Having lived alone for as long as he can remember, there’s a great social commentary that comes as unexpected from a cartoon chameleon.  Depp provides a wonderful array of emotional development and opens up his full voice acting skills for this hilariously awkward colour shifter.

Nothing negative can be said about the acquired level of scripted humour, backed up by the consequential slapstick humour and background jokes that audiences familiar to popular culture and the Westerns film genre will adore.  Sit back and relish the beauty of the intricate details in this animation as introverted strangers of the desert are brought to life in a way that makes sure you notice the finer points.  Every little aspect of the characters are there for your enjoyment, be it the stereotypical spoon playing old man in the hairy mouse or the on the loose gunslinger formed in the evil rattlesnake.  The soundtrack is well utilised with anthems that will get the film buffs nodding at their clever interaction with the script.  There’s plenty there for the children to giggle at, but what really spoke volumes was the laughter coming from the parents and the variety of audience members drawn in.  Released at half term time in the UK, it’s become a favourite for its unique style that offers something you’ll find truly refreshing.  Worth a watch while still in the cinemas, you won’t feel embarrassed for catching yourself laughing aloud.

 

REVIEW: ANIMAL KINGDOM ****

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04/03/2011 By In Movies, Reviews

The best Australia has offered since ‘Samson and Delilah’. This dark and delightfully gripping drama follows young Joshua ‘J’ Cody as he comes of age in a gangster driven family of criminals. After his mother overdoses on heroine, J is left alone and turns on the only family he has left. His mother had worked hard to keep him away from the wildness of his family gang and their lifestyles, but this he learns only too late.

Nominated for best supporting actress at the 2011 Oscar Awards, Jacki Weaver is the undisputed matriarch of the family. Sly in appearing as the sweet and doting mother and grandmother, she’ll do anything for her boys, just anything. Always at the centre of the drama and constantly growing family tensions, she serves as the glue that holds together the last remaining sentiments of sanity that the males of the group consistently test. Her performance is definitely award worthy, she’s a wonderfully developed character that has those significant twists and turns to her personality that make sure you remember to keep your eye on her at all times.

The male roles of the film are upheld beautifully. An intricate display of struggle for power and control progresses at a terrifying rate. As J finds himself more intensely tangled in the web of lies and deceit, it’s almost too late before he’s able to see what future is being played out before him. The hierarchy of the animal kingdom is the main ideology behind the family’s undisputed wave of crime and violence. A system that is both set in place and regularly tested by its pack members, shows its loop holes and its pitfalls as the crimes become more serious and the body count rises alarmingly fast.

Edge of seat tension is in abundance in this high octane insight to the crime subculture in the Land of Oz. Thrills attack the senses rapidly at moments of gun face offs and crime spree action, but this isn’t a gun toting attention seeker. The water is deeper than it looks from the surface. J must hold his head above the surface as he struggles to stay alive. The complexities of his involvement in his uncles’ crimes are too much to deal with, never mind trying to come of age in the middle of the fury. Will J be able to retain the distance his mother created for him, or will he become part of the pack? The film weaves in between his possible fates and will keep you guessing, but leave you spellbound. Truly one of the best crime dramas in years, it’s not to be missed.

Only showing in the QFT now.

REVIEW: The Chronicles of Narnia: The Voyage of the Dawn Treader

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29/12/2010 By In Movies, Reviews

The Chronicles of Narnia: The Voyage of the Dawn Treader * *

It’s the big family film of the festive season this year and the third instalment to the Chronicles of Narnia film adaptations. This time it’s not Disney behind the helm, Fox have picked up where Disney sadly left off, picking at the preverbal scraps in the great Disney rubbish bins. In retrospect this is a small change as the same cast are on board and superficially it has the same filmic tendencies both visually and in narrative as the previous two films. Yet the fact that Disney not only passed up the opportunity to mass merchandise another film and the sheer popularity power the two films they produced had, it’s surprising and definitely reflective of Disney’s sense of adventure.

Due to the storyline structure of the original novel, the film focuses on the younger two children Lucy and Edmund as they travel back to Narnia with their unwilling disbelieving cousin Eustace. War ridden Britain has meant the younger two of the four have been left with an aunt and uncle in Cambridge, whilst the elder two are living their own adventure in America with their parents. Fed up with the attitudes of their relatives and the chores of everyday life the duo Lucy and Edmund find themselves reminiscing about their travels in Narnia as a means of escape. That strange painting on the wall does look very Narnian though… Whisked away by an impromptu flood the duo plus cousin find themselves being rescued by Prince Caspian in the royal ship The Dawn Treader and another magical Narnian adventure stands before them.

Liam Neeson still features as the voice of Aslan the lion and Simon Pegg as the voice of mouse pirate Reepicheep so there’s a decent level of consistency with the studio changeover. The entire visual style and mode of display of the magical lands is not neglected and here given a fresher take as the adventure is much darker and they cross uncharted seas so there’s lots of room for experimenting. Significant effort has been put in to retain the same amount of detailing and it pays off with the costumes, the ship, the battles and the creatures. Not visually stunning or original, but completely enjoyable, that magical quality is the one redeeming factor in an otherwise tedious natured film.

Lewis Carroll famous biblical parables were safe inside his books, contenting Christian parents worldwide and pleasing children who didn’t want to see them for generations. The previous films have left those subtler hints and kept as close to the novels as possible narrative wise, but this visit to Narnia is just overkill. If you didn’t get the metaphors before or were happy enough to simply enjoy the enchanted sensation of viewing the films, then turn away as the clumsy attempts to explain the underlying Christian parables with heavy clonking great stamping is just shocking. Perhaps Disney were wise to drop the hot potato before it burnt them, Fox will surely be seen as viewpoint pushing Western fear mongers after this mistake.

Overall the entertainment value of the first half of the film is turned on its head with the last quarter. All attempts at maintaining the success of the Disney endorsed Narnia have failed. There’s just some element always lacking, whether it’s the much more abrupt dialogue, the blatant skipping of huge chunks where there was space to explore, or the jumping pace which picks its moments. Living proof that Disney is a hard production company to follow up, when expecting something to take the family to on an afternoon it’s a huge crowd dis-pleaser that just doesn’t cut it for the festival treat.

REVIEW: Rare Exports: A Christmas Tale * * *

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20/12/2010 By In Movies, Reviews

For those who are familiar with the internet sensation short film ‘Rare Exports Inc’ (2003) and ‘The Official Rare Exports Inc Safety Instructions’ (2005) this director and writer Jalmari Helander’s feature film of the same topic.  No need to swot up and get to grips with the original two short films if you’re new to Helander’s darkly comic Christmas fairy tales.  ‘Rare Exports: A Christmas Tale’ is something of a prequel.  This is the story of how Rare Exports Inc came about, but be warned it’s not your usual festive film.

What we’re used to is the big blockbuster for the holidays, the musical, the children’s film, there’s something for the broader audiences guaranteed.  The token Christmas feel good films with morals fill our television sets for around two weeks, perhaps a little break in trend would be warmly welcomed?  Having the norm per say is comforting, but it’s more exciting to challenge your expectations with something that offers an alternative, which is exactly where ‘Rare Exports: A Christmas Tale’ fits in.  Okay then, queue the snow, queue the Christmas lights, snuggle down in your local two screens and prepare yourself for a Christmas tale like no other.

‘In 2010 everyone will believe in Santa Claus’ little Pietari still believes, in fact he’s the only child on Christmas Eve in Lapland that does.  Fascinated by the archaeological dig happening on a nearby mountain, Juuso and Pietari are very naughty and break in to spy.  The only problem is, they’ve just helped something break out which is now spying on them and all the other little girls and boys.  Pietari’s father is a reindeer herder and when only two of the flock make it to the pens, their annual income is lost.  Something has gone terribly wrong and the reindeer are found slaughtered just outside the clipped fence of the archaeological dig, but whose aren’t wolf track that Pietari finds.  Gathering all the hints his suspicions of the return of the original Santa Claus lead him to stranger events.  Santa is known to punish naughty girls and boys and as Pietari discovers in a book of Santa myth it’s a lot more threatening than nothing but coal in your stocking.  It’s up to Pietari to convince his father and friends that the real Santa Claus has come back, but time is running out with one day left to Christmas.

A completely alternative twist where Santa Claus is a malevolent demon of mythology, it’s a little bit of Christmas spirit delivered in a very refreshing format.  The childish power of believe is a key theme in Christmas films, so naturally it’s at the heart of this story.  Traditionalist morals are central to the narrative and that feel good notion of a festive film is still there, so you won’t be estranged from the typical comforts.  The adventurous delight of the ‘Home Alone’ films is whisked in with a spicy blend of nasty gore tension for the perfect mince pie of a film.  It has the same lasting effect of the two previous shorts, but it’s a treat you won’t regret indulging in at just under feature length.  It’s the main concept of the narrative that draws you in, but it’s the mishmash of good honest Christmas film sensation that lets you leave the cinema feeling warm inside.  To all those scrooges, this will help you adjust to that time of year that you knew all along to fear.

‘Rare Exports: A Christmas Tale’ is showing in the QFT as an alternative Christmas film this week.