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Martyn Conterio on Muck Rack

Martyn Conterio

Verified
Spain
As seen in: The Guardian, Live Science, New Musical Express (NME), Metacritic, Sight & Sound, BFI, Little White Lies, The London Economic, SciFiNow, CrimeReads and
freelance writer specialising in genre cinema @BFI @NME @totalfilm and many more!
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Articles

The one-and-done directorial debut that sparkles with audacity and risqué humour

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By Josephine Botting Rarities, David Jones, Martyn Conterio Verified
| BFI
While theatrical adaptations have long been a staple of British cinema, Clive Brook’s 1944 feature On Approval injected the form with an ingenuity that makes it unique. Producers were keen to film successful plays as they had built-in marketing value, but translating a largely static, dialogue-driven form to the screen presented problems that very few writers tackled with sufficient creativeness to break free of its limitations.
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Object of the week: The state-of-the art scanner transforming the art of film preservation

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By Martyn Conterio Verified, Jeffrey Meyers, Melanie Williams
| BFI
This imposing beast of a machine is the Lasergaphics Director 65. It’s our flagship film scanner, a top-of-the-range device which enables us to create high resolution scans for both preserving films and making them accessible. The operator-friendly machine scans film material from 8mm to 70mm and everything in between. We can create multiple outputs simultaneously, from MP4s to DPXs, up to 13.5k resolution, as well as WAV sound files. We usually preserve files at 4k and often deliver 2k.
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Where to begin with Peter Weir

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By Martyn Conterio Verified, Jeffrey Meyers, Melanie Williams
| BFI
At a glance, Peter Weir’s career is a paradox. He was a key figure in the 1970s Australian New Wave (alongside Bruce Beresford, Gillian Armstrong, George Miller and others), before moving to Hollywood and making some of the most recognisable mainstream studio movies of the 1980s and 90s, including Dead Poets Society (1989) and The Truman Show (1998). Yet, especially during this American period, his approach is classical to the point of invisibility.
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