I Want To Work Here…!

•December 10, 2014 • Leave a Comment


I love watching movies and TV shows. Big Picture Small Screen is a reflection of the entertainment I enjoy, sharing it with my friends and colleagues at Yardie Reviews has become my favourite past time.

In my pursuit to secure a job in the industry, I did some research and came across some amazing and creative ideas people have presented to potential employers for the chance of a job and for most of them it worked. If you want something you go get it, right?

Continue reading ‘I Want To Work Here…!’

Hyper-Pop Comics Making Workshop

•November 20, 2013 • Leave a Comment

Hyper Pop

Comica’s Hyper-Pop hosted the Comics Making Workshop to go alongside the Pop Art Design exhibition at the Barbican Centre last week.

Comic book artists Gary Northfield and Rian Hughes introduced us to the history of comic art, before we got the chance to create our very own comic strip inspired by famous works; including Tony Abruzzo’s Girl’s Romance #73 and Kurt Schaffenberger’s From Superman’s Girlfriend #24. Both of which are better known as Roy Lichtenstein’s In The Car and Andy Warhol’s Superman, respectively.

In The Car


Sitting around wooden tables on tiny stools had me feeling like I was back in primary school, especially with all the colouring pencils and felt tip pens that littered the table.

My starting point was the “PTOOFF!” by Kipps, which was designed for The Deviants’ 1967 album of the same name. I decided it would be easier and quicker to do something short and sweet (it was only an hour long class) and so followed with a bunch of sound effects and ended with a Lichtenstein inspired final image.

I call it “Getting Ready”.

Getting Ready

Psycho Nacirema: Review

•August 12, 2013 • Leave a Comment

Psycho Nacirema

Perhaps I’m addicted to the dark side; maybe that could explain my fascination with Alfred Hitchcock’s Psycho. His genius had a way of evoking emotions from you without you even knowing. He made you the creepy voyeur when Norman spied on Marion; anxiety when Norman he spoke about taxidermy being his hobby, or that fear whenever we heard Mother’s voice, and about a hundred other emotions even after the movie came to an end. Hitchcock cleverly captivated me in his twisted world of cinema and I’ve been trapped ever since.

Can one be obsessed with Psycho? If so, then needless to say: James Franco + Psycho? Yes please.

Motel 1

Motel 2

I wanted to be a part of this. I wanted to live out the movie. We walked right into the very bloody Bates Motel: sinister wall art, blood smeared across every surface, and the creepy eyes of Norman Bates himself greeted us at the reception.

Motel 3

As exciting as it was to physically explore this dimension of the movie, you couldn’t help but feel that slight bit of unease. Was I watching the movie again, or was I being watched? The psychological entrapment ingeniously set out by Hitchcock in the movie was emphasised by James Franco’s reinterpretation of the iconic scene as it lured us in to becoming a character within the plot.


Motel 5




We walk through the Bates Motel and into the 1921 Hollywood scandal of Fatty Arbuckle, the first ‘one-million-dollar’ actor who was charged with the death of silent movie actress Virginia Rappe. Media speculations, murky evidence, and the results of the trials that followed shed a harsh light on the film industry. A four way projected film showed the re-enactment of the real life scandal that allegedly took place in 1921, where Rappe was mysteriously injured and distressed at the celebratory party Arbuckle had thrown. Franco creates a trans-historical juxtaposition intertwining the two stories, inter-playing reality with fiction challenging the audience to address the role of cinema in ‘the modern collective consciousness’.




Fatty Arbuckle Bed

Film is the medium that employs all art forms, but it is contained within the screen. We take this multi-media form idea and pull it through the screen, so that the different forms are once again fully dimensional and a new nexus of interaction and significance is created. In this show, we go back to the original locations and images of Psycho and alter them so that once again the viewer’s relationship with the material changes. One becomes the actor when interacting with this work. Film becomes raw material and is sculpted into new work.” James Franco, May 2013