The Slate, November 2013

I'm not entirely sure where the phrase 'the slate' came from, but these days it seems to refer to the list of projects which a film studio is either working on now or planning to work on in the near future.  I thought this would be a good time to publish my own slate (or M.C.Media's, depending how you look at it) - so here goes...


Current project: Papercuts Production Block C (Episodes 5-7)

I've got a trio of scripts which came together around late summer, comprising the show's first two-parter, written by Tim, and a one-off episode by me.  Dialogue recording is complete, and the photography and editing stages are well underway for all three instalments.  The production block also includes some additional material: a short prologue to Episode 5, and a vlog showing the filmmaking process for Papercuts, specifically following the progression of work on a single new set which needed to be built for Block C.

 A moment from Papercuts Episode 5... coming soon!

The prologue was originally going to be the opening scene of Episode 5, but I felt that it wasn't necessary for the story and was slowing the episode down; initially I was going to tell Tim to just delete it, but then I decided I actually liked it in itself despite it not really being needed for the overall story, so I thought I'd go ahead and film it anyway, and release it separately as a prologue (inspired by the 'prequels' which Doctor Who has been doing for the last 2 or 3 years), under the pretext that it's a marketing thing.  It's finished, as of this morning, and you can see it here:



The production vlog will probably be the next thing I release, followed by Episode 5 itself.

Beyond the release of Episode 7, I don't really have any fixed plans for Papercuts; I'm open to doing more episodes in 2014 or later, but it all depends on getting scripts ready.


The next few projects: Fifteen-Minute Fortresses, Inanimate HD and The Murkum Show Series 2

This part is subject to change, but here's what I'm currently thinking in terms of my next work beyond Papercuts 7:

First up, you may or may not remember a little video I did earlier this year, titled The Fifteen-Minute Fortress?  Well, I might do a couple more of those.  Revise the parameters of the exercise, but still keep it broadly similar in spirit.  Watch this space.

Meanwhile, thinking even further back, you might recall my five-minute live-action short Inanimate from 2006.  This summer, armed with a vastly better camera and a friend who knew how to make said camera behave itself, I staged a remake of the film, now in shiny HD and starring Tim.  At some point, I need to knuckle down and edit the thing, and once the edit's complete, I'll take the logical next step and release the film.  Inanimate HD is rather more definite than Fifteen-Minute Fortress II, mostly because it's already been filmed, but the editing process could prove to be rather slow.

 Tim Johnston in the new version of Inanimate

And finally, the third and probably biggest thing on my near-future-projects slate is a second season of The Murkum Show.  The first was a lot of fun to make, and there's a lot of momentum building up for the second: I've already got a good idea of what the set will look like, and got seven episode scripts lined up (fun fact: all four of the people who wrote for Series 1 have already got scripts in the queue for Series 2).  It's very unlikely that Murkum Show S2 will see the light of day before next year, what with the work that remains to be done on my current projects, but I'm 98% sure it'll be happening in the first half of 2014.

 

Doctor Murkum in a recent adventure - expect more in early 2014

Other stuff that may or may not happen next year

I've got a few other bits and pieces on the go.  These include Improbable (a very odd little cel short, which I released a teaser clip for several months ago), Empire of the Pond (a remake of Fishy Business, a 2003 short whose storyline I thought was alright, but whose animation was so embarrassingly bad that I'm never going to let you see it), and a perhaps-over-ambitious CGI production titled Golden Cube, about a robot who works in a strange, futuristic dolly-mixtures factory.  No particular release schedules for any of those yet, but since I'm publishing the slate, it seems only fair to mention that they're on it - albeit down at the bottom.

 No, it won't start making any more sense when you see the finished film.

- The Colclough

From One Weeks' Vantage

Okay, been a week (what, already?) since 2012 shuffled off its mortal coil.  I always said the Mayans were wrong and I'd make it to Event 2013, and here I am.  Here, more to the point, we all are.

Thought I'd do a little write-up on the past year, and have a brief ponder on what might be coming up...


2012

I turned 24.  I remained weird.  I also remained single.  I didn't remain unemployed though, as you might have read in these pages back in February.

I nearly lost my computer.  But it got fixed in the end, so all's well, and all that.

We obtained our seventh hamster back in January, and he has been entertaining us with his nuttiness ever since.  And chewing the carpets.

The Jubilee happened.  Celebrations in my area got rather washed out, but sometimes that's life.  Now I'm busy rooting for Her Majesty to reach the end of her 64th year on the throne and overtake Victoria as the longest-reigning monarch in British history.

The Olympics happened.  I enjoyed the event, mostly.  It was interesting to see that that at one point the USA decided to report the medals table using a different algorithm to everybody else in order to pretend that they were on top, when really we all knew China were leading - almost as if the whole nation was throwing a huge collective strop because being in second place out of 200-odd nations just wasn't good enough for them, dammit Jim.  Us Brits, meanwhile, were perfectly happy with third rank - or at least I was.  I thought the closing ceremony was a washout - okay, it's some overpaid morons singing naff songs; even Imagine is massively over-rated, what's the fuss about here? - but thought most of the opening show was brilliant, and the actual sporting in between managed to grip even me, who hasn't a drop of sporting blood in my body.

I made some interesting discoveries about animation - most importantly, the fact that paper cutout animation is actually a lot slower and more difficult than you might think.  My animation output for 2011 comprised 13 episodes of Arbitrary Stopframe, but 2012 managed only 4 episodes of Papercuts.  Although to be fair, Papercuts episodes feature dialogue (with the consequent burden of lip-synch work), and each have three times the runtime of actual animation (i.e. not counting title and credit sequences) of an AS episode, so when you do the maths they work out relatively close.

That was my film output - what of the intake?  Records indicate (yes, I keep records) that I went to the cinema four times in 2012, to see The Pirates! In an Adventure with Scientists (visually top-notch, as one would expect from an Aardman feature, but disappointingly weak in the story department, and less funny than it should have been), Avengers Assemble (don't get me started, I could eulogise for ages, especially about Phil 'Agent' Coulson), Brave (not quite Pixar's best, but still pretty good), and finally The Hobbit: An Unexpected Journey (overlong, yes, but largely enjoyable, especially the performances of Martin Freeman and Andy Serkis.  Sorry about the inevitable disagreements betwixt us, Sam, but I did like it).  I've lost count of all the things I've seen on TV / DVD / Blu-ray, but highlights have included Galaxy Quest on Blu-ray, Sherlock season 2, the first half of the first season of The West Wing, my first time watching full seasons of The Apprentice (s8) and Young Apprentice (s3), and of course Seven Samurai.  Not so much a highlight, but still of note, the first few episodes of Star Trek TNG.  So far, at least half of them have been really awful - but I kept watching because I'm a bit of a completist sometimes.  The Dreaded Moffat has been very cruel and only given us six episodes of Doctor Who this year, instead of the 14 we should have had, but at least the first half of Series 33/7 has been an improvement over the sloppily-written debacle of 2011's Series 32/6.

I finished publishing Cylinder and Miserable Series 2, and started on Series 3.  Didn't end up resuming Grace and Caffeine or starting my planned Brothers in Shells prequel spin-off yet.

I also met a guy called Wayne, and we've been writing a sitcom whose basic premise is The Screwtape Letters mashed up with The Terminator, and laced with a liberal dollop of up-to-the-minute financial corruption.  More on that later, maybe...

And to round things off, I won 2 out of 5 podium spots for best post, and second ranking on the Best Blog of the Year list, in Sam's 2012 blogroll review, which I have to say was a very nice cap to the blogging year.


2013?

In short, goodness knows.  There are 51 more weeks to go before 2014 starts, and 51 weeks is a very, very long time, both in politics and elsewhere.

On the animation front, I'm hoping to get X-Battles GT5 finished soon.  Beyond that, Papercuts episodes 5 to 9 are all in various stages of being written, but none are ready to go yet, so I might be taking a break from the show and producing something else next.  Possibly more AS, and/or possibly the long-brewing Empire of the Pond, given a helping hand by my new graphics tablet.  Or maybe something about Murkum, animated entirely in Lego - but I don't have a workable screen story for that project yet, so you'll have to wait.  On a related note, Tim, Sarah and I finished Alpha One's Winter Wonderland back in the summer, and shot a fifth X-Battles GT short in October (nearly finished, just waiting for some more sound-editing work).

Hoping to finish writing Cylinder and Miserable Series 3 this year.  Might get round to doing one of those other comic-strip things I mentioned.  Might not.  Don't know.

Looking forward to Iron Man 3, Thor 2, Monsters University, and The Hobbit: The Desolation of Smaug.  Waiting to see what the reviews are like.  Need to catch up with Skyfall on DVD/BR sometime.

I've known people who took less than 51 weeks between meeting their future spouse for the first time ever, and getting back from their honeymoon.  Not to say I expect to marry in 2013; far from it, I've long since given up any actual hope or expectation on that front, but I know enough about probability - and about God's sometimes inexplicable sense of humour - to recognise that I can't absolutely rule out any traces of possibility.

Can but wait and see!


- The Colclough

This Is All Sam's Fault

Although I should point out that when I say "Sam's fault", I mean that in the nicest way possible.  Not really a 'fault' in the conventional sense at all, just that it's largely down to Sam.

I'm talking about my increasing interest in Asian (mainly Japanese) cinema.

Admittedly, my first introduction to Asian cinema came from a director I don't remember Sam ever mentioning, namely a pair of films from animator Hayao Miyazaki.  Specifically, these were his feature directorial debut Lupin III: The Castle of Cagliostro (1979), and his Oscar-winner Spirited Away (2001).  The first was a relatively gentle introduction to far-eastern cinema, albeit a slightly surreal experience, as the film is set in a version of middle Europe filtered through a lens of Japanese cultural perception and storytelling.  The other was only the second film to win the Academy Award for Best Animated Feature (following debut winner Shrek), after the category's belated inauguration in the 2001/2002 season, and is a much more wholeheartedly Japanese work, drawing heavily on traditional Shinto religious imagery.

But then came Sam.  Over the four years since I first met him, I have not only discovered more of his fascination with the Kaiju genre in particular and Japanese cinema in general, but I've slowly started getting drawn into seeing some of the films for myself.  He gave me a DVD copy of the original Godzilla (1954) as a Christmas present last year, and I bought a copy of the more recent South Korean film The Host (2006) on his recommendation.  And I liked both of them.

Despite the move towards the monsters, however, there remained a very significant gap in my education - I hadn't seen a single film by the man who is perhaps the most famed Japanese director of all, Akira Kurosawa.

Yes, that Kurosawa - as in, the man whose 1958 film The Hidden Fortress is often cited as the primary inspiration for Star Wars.

Back in August I obtained a copy of what may well be his other most famous film, Seven Samurai (1954), once again on Sam's advice.  I must admit that when I finally sat down to watch it last week, I had my reservations, mainly due to the fact that the film (even with some material still thought to be missing) runs to 190 minutes long, and I had found the American remake (The Magnificent Seven, 1960) somewhat unengaging and overlong.  I needn't have worried, though - Seven Samurai proves once again the already-well-established principle that remakes, especially American ones, tend to be something of a disimprovement.  The Japanese original did feel long (unsurprisingly), but remained engaging throughout despite being in fullframe, black-and-white and a foreign language.  Character motivations and actions made a lot more sense in their original context, and the pacing was much snappier.

I won't go into too much detail on the film's history, structure etc (Sam has already done all of that, and I don't see how I could improve on his writeup); I just wanted to post something to say, relatively quickly, that I've now seen it too, and I liked it.  And to say thank you to Sam for the tip!

Now to get hold of Godzilla Raids Again and/or The Hidden Fortress...


- The Colclough

Godzilla Versus

Out of all the presents I was given this last Christmas, certainly the most unexpected and possibly the most educational was the Godzilla DVD I was sent by Sam (thank you again, Sam).  Not Roland Emmerich's ill-received 1998 reboot, or even the American re-edit of the original film, but the actual Japanese Godzilla of 1954, just the way it was seen in the cinemas of Tokyo 58 years ago (except with English subtitles, which were quite useful as I don't speak a word of Japanese).  I'm a big proponent of director's cuts, and getting to see such an iconic film in its unadulterated form was quite exciting.

The thing is, though, in many ways I didn't think it felt like a six-decade-old film.  Okay, so it was made in black-and-white 4:3 at a time when widescreen and colour cinematography were all newfangled and prohibitively expensive, some of the acting does have a theatrical broadness of movement to it (mind you, nowhere near as much so as Metropolis, which I've also seen restored to very nearly its original cut), and some of the VFX shots do show their age, but in many other respects Godzilla held up incredibly well.  All the more impressive, of course, considering that it was made in a country that had nearly been wiped off the face of the earth less than ten years before.  The pacing is much quicker than most contemporary films I've seen, and the score actually sounded like proper music.  So many Hollywood composers of the same period seemed to think that film music was all about making the orchestra sound as loud and overwrought as possible for as long as possible, sort of the musical equivalent of a massive string of exclamation marks without any words in between, which tended to result in a painful tuneless racket.  Godzilla, on the other hand, has music which actually works as music, and uses dynamic markings other than super-mega-fortissimo.

Anyway... long introduction aside: there are 27 sequels, many of them titled Godzilla vs [insert name here], and although I haven't seen the sequels their titles provided the idea for the rest of this post, namely "what if I wrote a series of Godzilla vs [whatever] titles, pitting the King of the Monsters against other sci-fi franchises, and summarised what I thought might happen?"

For those who remain ignorant in spite Sam's ongoing efforts to educate the world about kaiju movies, Godzilla is (according to the films) basically a prehistoric 150(ish)-foot-tall reptilian monster which was disturbed from its sea-floor lair by American nuke tests in the Pacific circa 1954, and has spent the next few decades rampaging around the world - although focussing mostly on Japan - crushing buildings, setting fire to stuff with its nuclear death ray, and battling other enormous beasts.  It's also worth noting that it's impervious to pretty much every weapon known to man.

I'll admit I did start to deviate away from sci-fi as I went along, but for what it's worth, here goes my list of as-yet-nonexistent Godzilla Versus films, with brief summaries of the outcomes:

• Godzilla vs Doctor Who: Godzilla is a fixed point in time (obviously), so the Doctor can't interfere.  He rescues a handful of people in the TARDIS before it's too late.  The Daleks on the other hand, probably do try and interfere because they can't bear the thought that someone else is better at exterminating than they are, but they don't last long.
• Godzilla vs Star Wars: Sidious deploys Force lightning, Godzilla deploys atomic death ray.  Both fry, but Sidious probably gets the worst of it.
• Godzilla vs Star Trek: we have a bit of a problem with geography here.  The Godzilla films (as far as I'm aware) take place mostly in Japan, and Star Trek takes place mostly in outer-space locations that aren't Japan, so I'm not sure how the two would meet.
• Godzilla vs Avatar: I guess the Na'vi would try and form a symbiotic bond with Godzilla, like they do with every other species on their planet, but something tells me it wouldn't work.  Sooner or later, Hometree Mk II would get rampaged and burnt.
• Godzilla vs Jurassic Park: no, even Dennis Nedry knows better than to steal that embryo!
• Godzilla vs The Matrix: the Machines accidentally wake Godzilla, and their empire is destroyed within a few weeks.  Those Sentinels don't stand a chance against the atomic death ray.  The interesting part of the question is, how would the humans' brains deal with the collapse of the Matrix infrastructure?  Mind you, what with them all being disconnected from reality and stuff, they'd probably have a hard time evacuating, so they'd all get bumped off pretty quick amid the rampages.  Which makes the question a bit redundant.
• Godzilla vs Thunderbirds: Godzilla destroys Tokyo (again), but not before the Tracey brothers evacuate everybody.  Derek Meddings has a field day blowing stuff up for the cameras.  Oh, wait... he did that on most Thunderbirds episodes anyway.  Never mind.
• Godzilla vs Top Gear: the presenters are told to meet in Tokyo to shoot a Japan special, but Godzilla turns up just when they're supposed to start filming.  Clarkson escapes by modifying the daylights out of his car to make it do 250mph.  Hammond has already got emotionally attached to his motor and is unwilling to modify it to speed it up, so he can't get away quick enough and he gets stomped.  May survives because he can't read maps and he never got to Tokyo in the first place.  He is eventually discovered, five years later, slowly orbiting a roundabout a few miles west of Edinburgh.
• Godzilla vs Sherlock: Sherlock becomes the only person in the universe ever to talk the King of the Monsters out of doing a rampage.  Godzilla acknowledges Sherlock's intellect as a fellow force of nature.  He eats Moriarty instead.
• Godzilla vs Tony Blair: Tony is such an amateur.  That Iraq fiasco, and all.  Godzilla shows him how to invade and destroy a country properly - and hopefully he then burns Blair to a crisp for good measure.
• Godzilla vs Tesco: Godzilla still destroys everything, but this time there are plenty of handy carrier bags he can use to take home some souvenirs from the trip.
• Godzilla vs Root Hill: don't worry, we've got Sam on our side.  He knows all Godzilla's tricks, so he can tell us all how to survive the attack.  Sorted.

Okay, yeah... that might have got a bit strange towards the end, but it was quite fun to write =]


Statistics:

• First 12 for '12 status: 11 down, 1 to go
• Latest book read: still working through 1 Kings in the KJV. Solomon's dead.
• Latest film/TV watched: Great British Railway Journeys
• Latest music listened to: Pirates of the Caribbean: At World's End OST by Hans Zimmer
• Latest edible item eaten: flapjack and coffee
• Predominant colour of clothes: will you be surprised, even a tiny little bit, if I say blue and grey?
• Programs and web pages currently running: Microsoft Office Outlook 2007, Firefox (tabs: Google Image Search; A White Horizon; Blogspot Create Post; MatNav 6.1)
• Webcomics posted today: n/a

- The Colclough

Mostly Serkis

Went to see The Adventures of Tintin: The Secret of the Unicorn with the family last night.  Mostly enjoyed it.

We used to go to the Odeon in Bracknell until three years ago, when a new Vue opened in Camberley, much closer to home.  My last 15 cinema trips (I keep notes, odd as that may seem) have all been to Camberley, but last night we broke the streak and went back to Bracknell, because Camberley were only showing Secret of the Unicorn at awkward times of day, and only in 3D, which none of us are that keen on.

Bracknell had changed a little bit, but not all that much.  Still more or less how I remembered it.  Seats less comfortable than the ones we've got used to in Camberley, but not enough to detract from the experience.

What did detract from the experience was the stuff in front of the film.  I don't know if all cinemas are the same, but both of ours tend to show ads for non-film-related stuff, then film trailers, then the actual movie that you paid to see.  Well, last night, all of the non-film ads were a load of utter dreck apart from one for McCain's chips, which avoided the usual food-ad cliche of focussing on a nauseously-grinning family eating the product for the whole runtime, and instead showed the chips being made and tested by little machines, designed mainly in the Heath Robinson tradition but with a bit of influence from WALL-E (which, coincidentally, was the last thing we saw at Bracknell before Camberley Vue opened).  The trailers were, if anything, even worse.  I'd already seen at least two different ones for Puss in Boots, which weren't that bad, but the one shown last night was terrible.  There was one for Happy Feet 2: I don't know how the original won an Oscar for Best Animated Feature - 2006 must have been a REALLY bad year for animated films - and the sequel looks awful.  There was one for Twilight six-and-a-half or whatever number they're up to now (I'm not sure, and I don't care, exactly how many have been released): it took me a few moments to realise what the trailer was for, but once I'd cottoned on I couldn't bring myself to keep looking at the screen.  The risk of catching sight of Robert Pattinson's gormless undead mug again was too horrific.  The only trailer that I liked was the one for Arthur Christmas - it's Aardman (see Chicken Run, Wallace & Gromit), and despite having never believed in Santa Claus, I was rather taken with the premise that his gift-delivery routine is actually achieved through an uber-high-tech pseudo-military organisation.

But eventually, the rubbish was out of the way, and they rolled the Spielberg.  I must say it didn't make the best first impression - I thought the silhouette-cartoon opening-credits sequence, although decent enough in its own right, should have been kept until the end, and the film should have just got on with the story up front.  The beginning just felt too slow to me, and the mini-plotline in the credits was a bit of a red herring relative to the main story that followed it.

Said main story, however, was very enjoyable.  Steve Moffat was working on the first draft of the screenplay before being offered a job as head writer of Doctor Who, which shows, as the film had its fair share of wit and eccentricity, while Ben (who knows the comic books much better than I do) says they were pretty much faithful to the source material, albeit combining 2 or 3 of the 23 comic books into one film.  Ben reckoned the ending counted as a cliffhanger, but I would disagree - yes, it leaves the door open for sequels (it was always the plan that they'd make a trilogy, with Spielberg helming the first film and Peter Jackson, of The Lord of the Rings, taking over for the second), but the film is a sufficiently self-contained story that you leave the cinema feeling like you've seen a whole film - unlike, for example, Matrix Reloaded or Pirates of the Caribbean 2.  Which is quite a relief after Moffat's torturous obsession with cliffhangers in this year's series of Doctor Who.

The film's reviews were an interesting mix - mostly positive, but with one or two no-holds-barred savagings which mostly seemed to come from a luddite brigade who have never forgiven Computer-Generated Imagery for existing at all, let alone for being applied to feature films.  Well, I'm not an anti-CGI luddite, and while I did think the motion-captured performances weren't always 100%, they scored a respectable enough 95.  The show was stolen by Andy Serkis (better known for portraying Gollum through a similar mo-cap performance in the Rings trilogy) as Captain Haddock: easily the second-most-important character after the eponymous Tintin, if not the outright leading man in all but name; sober for approximately one minute of screentime; prone to impulsive, misjudged actions, and the source of a good two-thirds of the film's funniest and generally-best moments.

I feel I should mention the big action scene in the late second act which is executed in one, long, insanely complicated shot.  Technically impressive, if nothing else, and interspersed with a fair bit of Haddock.

The score was serviceable, but I didn't leave the cinema humming the theme.  It was definitely John Williams, but not John Williams on top form.  Still - no pop songs in sight (or in sound), which I always see as a good thing in a film.

Overall, I'd probably give it 7/ or 8/10.  See it for Haddock, if nothing else.


- The Colclough


P.S.: photo gallery of some recently-completed paintings coming soon!

What's Possible

Possible Stuff:

As of Wednesday afternoon, I've actually got a paid commission - making a 90-second computer-graphics-based advert for Day One Publications.  Still doesn't seem possible, but apparently it is.  Crumbs.

Following on from that: it is possible to handle financial and legal matters without your brain turning to an off-green goo and exiting your skull via the earholes.  Or so I'm told.

After seven months in the making, Fort Paradox gained its fiftieth episode last weekend.  Half-way to a hundred.  Wow.  And as if that wasn't enough, the project has its first episode or two by a guest illustrator.  I don't know about the rest of you, but from my POV that's all terribly exciting.  And it does seem possible (like I said, it's been a while since we started), but again, I haven't quite got my head around it.

It is entirely possible (and I hope probable) that I'll get round to doing Arbitrary Stopframe 4 in the next few weeks.  I've been a little distracted for the last fortnight by long-stay visitors, paid employment, and the fact that I'm running out of finished Alien President episodes, but I've got story plans for a couple more Arbitrary Stopframe clips.  Watch this space.

It is possible, but difficult, to design a bathroom by committee.  The way it's going in our family at the moment is that we came up with a perfectly serviceable plan several months ago (before discovering that Mum and Dad's bedroom was going mouldy around the corners, and deciding to de-fungus and decorate in there before doing the bathroom), and ever since then Mum's been revising the plan in every conceivable way, working out why the revisions won't work, and coming back to the original plan.

It is possible for the same composer to create some music that's crazy and thrilling, some that's beautiful and uplifting, and one little track that's deliberately, pervertedly, infuriatingly, brilliantly cringible, all on the same album. Case in point: Thomas Newman's soundtrack from WALL-E, which I've currently got on my hi-fi.  Oddly enough, exactly the same guy pulled exactly the same stunt on Lemony Snicket's A Series of Unfortunate Events, which is also in my CD collection.

Speaking of music: it's probably possible to sit through the entire 2-disc Doctor Who Series 5 soundtrack by Murray Gold (had it as a birthday present), and not feel the slightest bit like you're having any fun for the whole two hours plus.  But I suspect you might have to be a corpse in order to achieve this.


Impossible Stuff:

I'm sorry, but a dying man simply can't do what he did, with that implement, without missing at least a little bit.  IMHO, that scene went beyond the bounds of Suspension of Disbelief and into the territory of Plain Impossible.  If you've seen Tangled, you should know what I mean, although whether or not you agree is another matter.  I've phrased it that way to try and avoid being spoiler-ish.

It is impossible to sit in the same room for too long without starting to feel like you're going to go bonkers.  It's taken me a long time to realise this, but it's finally dawning on me.

And finally: IMPOSSIBLE GEOMETRY!!!

#007: Impossible Triangle

It was really tempting to paint a big letter 'S' inside the middle hexagon thing, but I resisted.


- The Colclough