Film Review: The Stranger

Isn’t YouTube a marvellous resource? As a video library to delve into for few moments of pleasure it’s practically a bottomless pit of entertainment. The choices of things to watch are virtually limitless. But it should come with a warning just to remind you that it’s all too easy to end up spending hours rather than minutes of your spare time engrossed as you segue from one upload to the next. The suggestions that pop up at the end of each video do a fine job of enticing continued viewing.

But aside from the cute videos of pets and babies and the millions of other “caught on camera” moments, YouTube is for me, a great film library. Thanks to a copyright lapse in many old classic films, there are a plethora of great movies available and just one click away. I found one such film this morning. The Stranger from 1946 starring Edward G. Robinson, Loretta Young and Orson Welles (who also directed) is a superbly put together drama that, thanks to its style, is also a fine example of film noir. Robinson is always good to watch and with great support from Welles and Young, the hour and a half that this film runs for, simply flies by.

Edward G. Robinson plays Mr Wilson – a “detective, of sorts” for the United Nations War Crimes Commission – who is hunting down a Nazi fugitive called Franz Kindler (Orson Welles). Kindler, having carefully erased all evidence of his former life and assumed a new identity – Charles Rankin – is now a prep school teacher in small town U.S.A. On the day we meet him, he marries Mary Longstreet (Loretta Young) who happens to be the daughter of the local Supreme Court Justice. In short, he’s managed to transform himself from a Nazi war criminal into a pillar of an American community.

Wilson releases Kindler’s former right-hand man Meinike (Konstantin Shayne) from prison in the hope that he will lead him to Kindler which of course, he does. All the way to the pretty town of Harper, Connecticut. But he loses him before he makes contact with Kindler. When Meinike (now a religious convert) and Kindler do meet, he begs his former superior to repent and to confess his sins. However, Kindler, afraid of being exposed by his former associate, strangles him instead.

The story unravels in a gripping, almost claustrophobic way as the determined hound chases down the wily fox. Wilson is pretty sure Rankin and Kindler are one and the same but without having witnessed Meinike meeting with him, he had no proof. So it’s left to Father Time and Kindler’s own fear at being exposed, a fear that will force him to make a paranoiac mistake – to betray his true identity to his pursuers.

As a screenplay, it’s a wonderfully taut piece of writing (Oscar nominated too) with very good dialogue – particularly from the authoritative figure of Wilson. Edward G. Robinson plays this to perfection and he lends his character an intelligent doggedness that is simply believable. Welles is also excellent at conveying a man desperately trying to hide something while Loretta Young is convincing as the new wife who refuses to accept that she fell in love with the wrong man. The town is dotted with other great characters too, in particular, Mr Potter the town clerk and proprietor of the local store/diner. He’s a hoot whenever he’s on screen.

Apart from the opening few minutes, all of the action takes place in Harper – a pretty little town where “there’s nothing to be afraid of” as quoted by Mary Longstreet. For a fugitive, it seems an ideal refuge but of course, for a local it seems like the last place on earth where something like that would occur. Welles’s direction confines us within the town, never giving us any long shot vistas of space and scenery, helping to create the sense of suffocation that Kindler must be feeling as his past captures up with him and his world closes in. Welles’ camera moves beautifully too on cranes and dollies and there are a few reminders of his Citizen Kane brilliance with emotive use of light and shadow in some of the interior shots as well as a lovely reflection in a camera lens. The film builds beautifully to a highly charged climax of which the set piece brings to mind Hitchcock’s Vertigo.

Curiously, The Stranger was the only film made by Welles that had any impact at the box office upon its original release. Hard to believe considering how highly some of his work is now regarded. Coming out shortly after the Second World War perhaps its anti-Nazi theme and the fact that war criminal fugitives really did exist, caught the public’s imagination. It contains, supposedly for the first time in a feature film, actual footage of concentration camps and although what we see is brief, together with Edward G. Robinson’s dialogue, it’s enough to horrify.

Overall then, The Stranger is a great waste of an hour and a half.

Woeful and Roses by M.K. Aston: A Review

Collections of short stories are a difficult thing to get right without coming across as pretentious and trying to bridge the gap between poetry and novels, but I’m happy to say that M. K. Aston has certainly cured my usual aversion to them. Each story offers a different take on the ‘twist’, which is a style that I have always loved although, once again, they are difficult to get right. As a reader it is like a form of abuse, eagerly awaiting the twist and knowing that it is going to shock and appall you, but wanting it anyway; Aston delivers this beautifully.

Each story is quite different and some even feel like they are written by a completely different author, but what they all have in common is that final twist and the subtle study of human nature. This is a subject that I could read an unlimited amount of books on, because it is so varied and so captivating and through the different styles of writing Aston really taps into this, offering a very realistic collection of stories.

Woeful and Roses opens with a story that sweeps you off your feet and into your imagination from the word go. Written through the eyes of an elderly man who we can all relate to – although we might not admit to it – End of the Line offers a realistic portrayal of the inner workings of the mind and the final, jaw-dropping twist at the end prepares readers for this style of writing. Simply put, don’t take the narrative for granted; all is not what it seems.

As with any short story collection there are always some I love and some I could take or leave. Portrait of an Angel is definitely the former and utterly heartbreaking. Although there were some seemingly unnecessary details that didn’t really add anything to the story, ultimately it all adds to the build-up and this is a very difficult thing to create. There were also some moments in other stories where the style didn’t match the rest of the story, but these were such small details that they don’t affect the overall telling of the story. I couldn’t pinpoint my absolute favourite story as they all offer so much, but Finders Weepers, Déjà Clue and Greetings from Saint Christopher were the three that truly resonated with me because they tapped into realistic fears and were told in such a personable manner.

The overall style of the book is difficult to pin down as some stories, such as Queasy Like Sunday Morning are quite different to the others, but this story in particular offered a nice break from the more serious or heartbreaking narratives and that is really needed in this type of collection. It is always difficult to review this type of book without giving away too much and ruining it for future readers. Suffice to say: it is well worth a read, but prepare for some wide-eyed-hand-over-mouth moments!

Arc & Stones Roll Out the Blues

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Arc & Stones is a four-man band from buy viagra in canada New York City that likes their rock on the bluesy side. Comparisons have been made to such luminaries of the genre as Kings of Leon and The Black Keys. In February of 2013, they released their debut EP with the simple title of Arc & Stones EP. Their first live show was in September of 2012 and they have gained a reputation as a good band to see live.

Containing five tracks, their EP kicks off with Silence, which instantly hooked me with its no messing rock, bluesy vocal from singer, Dan Pellarin and its sing-along chorus. It’s my favourite song out of the five. Say Goodbye follows, beginning with just vocal and piano before the rest of the band starts rocking. Let Me Down promises much with the melancholy opening notes on piano and acoustic guitar in what is a sparser contribution from the band, but I find it the least inventive track. She’s Mine takes us to what they do so well – dirty blues bubbling up from the swamps; it’s the heaviest song on the EP. Rise is the final track, a song that builds and builds, containing pleasing guitar work and a rousing chorus.

If you like your rock without frills or fuss, this is for you. There’s enough musicianship to keep you interested and it’s good to know this kind of rock is alive and well in an up and coming band.

The band is also crowdfunding their 2nd album here:
http://www.kickstarter.com/projects/1229045028/arc-and-stones-2nd-release
Streaming link: https://soundcloud.com/arc-stones

Websites:
Official Website: www.arcandstones.com
Bandcamp: http://arcandstones.bandcamp album.com//arc-stones-ep
Facebook: www.facebook.com/arcandstones
Twitter: @arcandstones
Video links:
“Let Me Down” Official Music Video –
https://www.youtube.com/watch?v=MiPj5b0NAXA&list=HL1365693750&feature=mh_lolz

“Say Goodbye” Official Music Video –
https://www.youtube.com/watch?v=ZCAolOkB7_A

“Silence” Official Music Video – http://www.youtube.com/watch?v=a49ENUCqaFU (Preview)
Artist contact: J.R. Rees – The Entity Inc. – joseph.rees@yahoo.com
(general management)

Press contact: james@independentmusicpromotions.com

Researchers Reveal Giant Glacier Melt Rate

As scientists try to establish a realistic prediction for how much sea levels can be expected to rise globally, a new set of results yielded from a new study in Antarctica have revealed how the continent’s longest glacier is being melted by the warm ocean flowing beneath it, at a rapid rate.

The Pine Island Glacier – measuring an impressive 31 miles long – has always been of great interest and eager scientists are finally able to monitor its behaviour more closely after the first successful research trip to the treacherous ice sheet.

Although it has been known since the end of the 1980s that the ice shelf is melting from beneath, its remote and tricky location had made it an impenetrable site. “In my 35 years doing fairly large oceanographic projects, the Pine Island Glacier one tops it in terms of its complexity and challenge,” said Professor Tim Stanton, the leader of the research team.

“But it’s clear that it’s very important to understand how these massive ice shelves are influenced by changes in the ocean. These observations will provide the basis for improving global climate models.”

An expedition in 2007 saw the first successful attempt to land on the Antarctic’s fastest flowing glacier, after determined efforts by the team to navigate the wind-whipped area. However, the trip ended in disappointment when logistical problems forced them to abandon their efforts for the much-needed research.

This was followed by a further attempt in 2011, which was thwarted by bad weather conditions. The team reached their location too late in the season and were left unable to carry out their investigations.

Finally in the December of 2012, the team of international scientists – including NASA and the British Antarctic Survey- finally embarked upon a fully-successful trip, installing the necessary instruments to generate the much longed-for results.

This trip was again repeated in January of 2013 and these long-anticipated expeditions created three new research camps which were set up in the centre of the glacier. Now finally, scientists have been able to establish specific measurements relating to its deterioration.

Drilling down into at least 450m of ice, using hot-water drills, the team installed a set of instruments below the shell. They were able to generate readings relating to both the speed and temperature of the water flowing beneath – measurements which previous satellite readings and airborne data had been unable to offer accurate results for.

The full paper, published in Science, describes the team’s studies and reveals just how severe the melting is. At some places, the rate is as high as 6 centimetres (2.36 inches) per day- equating to approximately 22 metres (72 feet) per year.

“What we have brought to the table are detailed measurements of melt rates that will allow simple physical models of the melting processes to be plugged into computer models of the coupled ocean/glacier system,” Stanton explained.

“These improved models are critical to our ability to predict future changes in the ice shelf, and glacier melt rates of the potentially unstable Western Antarctic Ice Sheet in response to changing ocean forces.”

Running Down

This week I had a cold.

It began with a sore throat on Sunday and degenerated from there.

When I attempted to go out for something to stave off further symptoms, my car stubbornly refused to start.

I didn’t have breakdown cover.

On Monday I had a marathon, three hour therapy session with my psychologist as part of my new group therapy. Unlike the other sessions, this was a one-on-one. We mapped my ‘patterns’ and ‘cycles’, trying to understand what has caused them, and how I can change them. It was an extremely emotional few hours and I cried regularly.

I came out feeling not unlike I had been run over by a large vehicle of some description, possible a Virgin Train. Or Concord.

The fact my car had broken meant mother had kindly rearranged her day to take me all the way into Chester. She’d met up with my sister and niece and gone shopping while I was at the hospital, so I was fortunate when I came out in that I was greeted my the grinning face of my niece, who for reasons unknown always seems to find whatever I do hilariously funny. This helped considerably, as I was shaking by that point and honestly don’t know what I’d have done, had I needed to make the hour+ drive home by myself. Instead, I did a bit of shopping and actually found a nice dress that fitted (minor miracle).

This left me feeling considerably better about myself, however it had been a long day, I was starving hungry, and hadn’t had any lunch. I ended up having hot chocolate and cake in Costa and picking up a ready meal on the way home. To make matters worse, the fact that my sore throat had by this time developed into a full blown cold meant that I only wanted one thing: curry.

Don’t ask me why, but whenever I have a cold I want one of two things, curry or chilli. I can only assume it is because the spiciness goes some way towards clearing your congestion. I’ve had two lots of curry and one lot of chilli this week, and while I do have several fantastic, low calorie, low fat, curry and chilli recipes, I’ve been far too tired to cook.

I have yet to find a good, low-fat, ready meal curry. So, between the hot chocolate and cake, the curry and the (obligatory) naan bread, Monday was a total disaster diet-wise. Tuesday wasn’t much better, as I woke up feeling even worse, couldn’t be bothered keeping track of what I ate. If memory serves, I managed a relatively healthy lunch but then had cake and biscuits for dinner. Once again, a disaster.

KleenexBy Wednesday morning I felt like Death.

I woke up and simply did not want to get out of bed. The light was far too bright and hurt my head, which was already killing me, I ached all over, was insanely congested, and it seemed as if I were swallowing broken glass.

Worse still, I felt depressed.

I felt the dark clouds looming, the feeling of impending disaster, and the notion that life is just plain shit.

It was at this point (around 8am) that I forced myself out of bed, suddenly terrified that all of this meant I was headed back towards a great depression.

Almost exactly the same thing happened last year, around this time, as the changing weather left me with a bitch of a cold and I felt really miserable. Determined to stave of what I saw as the inevitable period of hell, looming on the horizon, I pushed myself out of bed, forced myself to work, forced myself to walk Dexter despite the pouring rain and do an extra lap of the park, because exercise as we all know is good for the mood. The result of all this was not that I suddenly felt better, but rather that I felt considerably worse. I did not want this to happen again.

So, on Wednesday morning I did not force myself to work, I did the sensible thing, and listened to what my own body was telling me: it was completely exhausted. I went back to bed, something I try desperately not to do, because it is another thing that I equate with true depression. I woke up feeling slightly better. The day passed much like any other. I felt well enough to work, so I sat at my desk and caught up on some writing, but when I started to feel tired mid-afternoon I stopped, rather than forcing myself to continue. I took myself away from the guilt of not working by going downstairs, away from my computer, to watch Sherlock. It is not often I separate myself from my computer, however I have found that at times, completely severing the connection is the only way I can get any rest.

Thursday was far worse. I woke up with a terrible headache. Unlike the day before, a lie in did nothing to make me feel better, and I felt like Death all day. I did no work, but parked myself in front of the TV and watched Bones all day, while knitting a new cardigan for my niece. I ate what I felt like eating, which as it turned out was more curry, garlic bread and half a tub of Ben and Jerry’s. It was a day when everything hurt, everything felt awful, and adding hunger and cravings to it was the last thing I needed. The curry cleared my head, the ice cream soothed my throat; at that particular point in time those two things were of greater concern to me than my diet.

Friday I woke up at a normal time, with no headache, no sore throat, no dizziness, and only a slightly running nose and scratchy voice to show for my troubles. I went about my day as normal, getting my work done, nipping into town to sort out some things with the bank and going to the shops for some (healthy) food. I ate lunch in Costa, as I was in town at the time, but I had a skinny hot chocolate, rather than the full fat with cream and marshmallows that I actually wanted, and declined any form of cakeage (this is almost impossible for me to do, especially when confronted by coffee and walnut cake).

By Saturday I felt perfectly fine once again, all had returned to normal.

When comparing this experience to the experience I had last year—severe bronchitis and several weeks of depression, even after the bronchitis had finally cleared up, I find myself wondering. It is generally upheld that ill-health or being ‘run down’ can easily trigger depressive episodes in people who are prone to such moods; this is one of the reasons a healthy diet and exercise are extolled as being so important in treating mood disorders. If you are already feeling lousy, if your body is already vulnerable to the onslaught of a virus or disease and expending all its energy fighting off the physical, it has fewer reserves to keep the mental in check.

In light of recent events however, I believe it is more than that.

When I began to feel ill, my immediate thought was not ‘I have a cold’, but ‘oh no, I’m getting depressed. AND, I have a cold, just to make everything worse’.Road Sign

In my mind, the depression comes first. The fact that I was feeling bad made me vulnerable to a cold, rather than the reality, which was the other way around. Any person, regardless of their mental health, feels miserable when they’re ill. The problem for those of us who regularly feel miserable for other reasons, is that we tend to assume that any form of misery is the mental kind; we disregard the fact that any person with a cold would feel miserable, and assume it is a sign our own private form of hell is returning.

Once the idea has been placed in your head, there’s no shaking it. You either do everything  you can in an effort to stave off another depressive phase—as I did last year—and by so doing run yourself down so much that your original illness is magnified tenfold, and you do actually become depressed, or the very fact you believe you’re already depressed depresses you, and it becomes a self-fulfilling prophecy: I think, therefore I am; I think I am depressed, therefore I become depressed.

Doctors often talk about people being ‘run down’, which causes them to become vulnerable to colds and flus and various other ailments. What they mean is that these people have developed a low immune system, for whatever reason, and so are less capable of fighting off any infections they come into contact with, infections they might otherwise have been perfectly capable of fighting off without becoming ill. It’s very easy to get run down by working too hard, or even playing too hard, sleeping too little, eating unhealthily, and not getting enough of the nutrients needed to keep your immune system strong.

Doctors often talk about being ‘down’, also. People, in general, will often say that dreaded phrase ‘everyone feels down sometimes’, when talking to someone with depression. These people either think they understand, or are trying to make that person feel better. The majority of them have no idea that those words make people who have suffered any kind of depression want to kill them. Slowly. And painfully. It is perhaps one of the most unhelpful, condescending, and irrelevant things a person can say to you when you are trying to explain how you feel during your depression. The reason for this is very simple: feeling ‘down’ is not the same as feeling depressed. Depression is a clinical illness. Feeling down is not. It might not be pleasant, but it doesn’t compare. Thinking it does, generally only serves to display how ignorant you are when it comes to the true nature of depression.

That said, while there is a vast difference between the ‘down’ felt by ‘everybody’ and the ‘downs’ felt by those with mood disorders, there is one saving grace in this unbelievably irritating expression: all people, in general, DO feel down sometimes, for a variety of reasons, the majority of which are transitory. What people with mood disorders have a nasty habit of forgetting is that they are included in that general category of ‘all people’, and while their depressive episodes do not fall under this patronising umbrella term of ‘feeling down’, there is a plethora of other instances in their lives which do. Instances which are mistaken for the first signs of another depression. Instances which then become another instance of depression, for no other reason than the person is so afraid that is what they are already feeling.

It occurs to me that, since I have become more self aware where my bipolar is concerned, I have become hyper-aware of my emotional state, and even the slightest dip in my mood is a cause for me to assume I am once again getting depressed. This, in itself, stresses me, and has at times actually pushed me into a state of depression which I most likely would not have experienced, had I not been so worried it was about to happen again.

This week I was feeling run down. I had a cold. I was, however, able to acknowledge the fact that it was just a cold, and treat it as anybody else would.

This time last year I was also feeling run down. I had a cold. I forgot that anyone with a cold would feel miserable and took it to be the first sign of another depressive cycle. As a result I became, almost instantly, depressed. I wasn’t just run down, I was running down; I felt the slightest echo of what I feel when truly depressed and, convinced I actually was depressed, ran myself headlong into a depression. That was one cycle that could easily have been avoided.

That is one cycle I have, thankfully, avoided repeating this year.

Another cycle I have is using food as a coping mechanism. I overeat when I’m stressed, I starve myself completely when I’m very upset. This week, I was so far off my diet you would think I was unaware the word even existed. I ate what I felt like eating, when I felt like eating it, be it calorific curries and chilli, cake, chocolate, ice cream or biscuits. The reason for this was simply that I didn’t have the energy to keep up the diet, and my body seemed to be screaming for certain things.

Scales

I assumed, naturally I think given what I ate in the last week, that this would be reflected on the scales this morning. Imagine my surprise when I stepped on and found—to my delight—that I had not gained a single pound. Moreover, I had not gained so much as 0.1 pounds. I had remained exactly the same weight I was last week. Given that I ate far less last week that this week, and gained 0.2 pounds last week, I can only conclude that the reason for this is that this week, while I was ill, my body actually needed the extra calories to fight off the cold.

Consequently, it is with great delight that I can record my weight has remained the same this week. It is also with renewed enthusiasm that I embark upon my diet again today, now that I feel better (both physically and mentally).

My Fitness Pal Ticker

Here, There, Gone: An Interview with Sir Nicholas Hytner

Nicholas Hytner’s Othello was so good I saw it twice.  It’s not the first time Sir Nick has wowed the critics.  And I somehow doubt it will be the last.  I perch comfortably outside his office, staring at black-and-white action shots of hit after hit: Adrian Lester in Henry V, Simon Russell Beale in Much Ado About Nothing, James Corden in One Man, Two Guv’nors.  If there’s such thing as a grammar of theatre, Hytner is fluent in it.

These days, he needs little introduction: the Cambridge alumnus who arrived at the National Theatre in 1990 has become one of Britain’s most well-respected directors.  One bookshelf in his office hosts a glass poster for One Man, Two Guv’nors; another holds mugs commemorating the first night of each Shakespeare play he’s directed.  The Othello mug sits atop an unfingered script on the glass coffee table that separates us.

“None of these texts exists in isolation,” Hytner says, as if he’s noticed me looking at the mugs that sit side by side on the shelf.  “You kind of take [their] temperature;” he tells me, “every time you put them on, probably every time you read them, the temperature will change.”  Indeed, Hytner is well known for his modern adaptations (Othello takes place at a military base that recalls recent wars in Iraq and Afghanistan), and that fact underpins much of his philosophy: “what it says about our world is as much to do with our world as it is to do with the text.”

The air conditioning shuts off.  Hytner apologises, gets up, fiddles with the machine.  It’s the first time I’ve looked outside since I entered the room.  Late afternoon, and the view must be one of the best in London.  The last sunbeams dance on buildings that spear the sky—Blackfriars Bridge, St Paul’s, the Gherkin beyond—each mingling with each.  It feels as though the current of the Thames is driving daylight away, pushing it inch by inch towards the margins of evening.  It’s not long before he returns to his seat, clears his throat, and resumes: “If you’re performing Shakespeare, you’re only ever going to take a snapshot of it.  There’s always next time.”

It’s difficult not to be drawn in by the wonderful mildness of Hytner’s voice, and the diagonal smile that flashes across his face whenever he stumbles upon the mot juste.  I ask which Shakespeare character he identifies with most.  For a moment, he sits forward in his black leather chair like a kid forced to pick between his favourite toys.  “Benedick I like enormously,” he concludes.  What attracts him so much to the protagonist of Much Ado About Nothing (aside from the actor he cast to play him, Simon Russell Beale) is his willingness to do “something suicidally brave for Beatrice,” his adversary-cum-lover, when he challenges his former best friend Claudio to a duel he has little chance of winning.  Hytner doesn’t even think “you’d want to hang out with Hamlet as much as you’d like to hang out with Benedick.”

On Hytner’s watch, Shakespeare has become a vital force in the National’s bloodstream.  In fact, an awful lot has changed since his first days in the job way back in April 2003.  He settles a jeaned leg lightly on the coffee table, before reminiscing: “I do look back on 2003 and think that almost every one of the big decisions could have gone the other way.”  Fortunately, they didn’t.  Jerry Springer the Opera turned out better than expected (“and the people it offended it was good news to offend,” he adds); new plays in the intimate Cottesloe Theatre saw success; and His Dark Materials took the plaudits.  “They all worked—every single one.”  His relief and disbelief, even ten years on, is palpable.

“I wonder what I would say,” comes his inquisitive reply when I ask what advice he’d give to his former self if he could rewind a decade.  He pauses for a while.  I’ve got used to his way of sending his words across to me like chess pieces, each move contemplated and considered: “I think I would say, ‘you will never regret being wild and bold, and turning down the tasteful option in favour of the rough, provocative one.’  That’s what I’d say,” he reaffirms, this time with certainty.  “Ticking over” isn’t the Hytner way.  “I’ve never regretted having messy things,” he says, “but I’ve regretted having boring things.  I’ve hated that.”

What people think of his work barely registers.  “I don’t care really.  I don’t care,” he reiterates firmly.  He seems more genuine than blasé: “I’m very happy to get from day to day, and year to year.”  His chair rotates slightly, and leans his chin gently against finger and thumb.  Theatre is demanding at the best of times, but it hasn’t jaded him.  “To a very large degree,” he continues, “if I get to my last day here without the place sliding down the pan; if I can feel that for 12 years, it has deserved its title and it was as good as it needed to be, I’ll be very happy.”

And his legacy?  Hytner’s not too bothered about that, either.  He draws a parallel, hands moving in sync with voice, between theatre and film: “movie directors very much build up a legacy: it’s there, it’s immovable.  They spend their retirement going from retrospective to retrospective and festival to festival being lauded and honoured,” he laughs.  But the beauty of theatre lies in its ephemerality; night after night, season after season: “it’s here, it’s there, it’s gone.”

Soon enough, that will be the fate of Sir Nicholas’ tenure at the National.  But, characteristically, he won’t make a point of his departure: “I don’t think I want to do a big farewell spectacular,” he tells me.  “I’ve got 18 months more, I’m just finishing off the planning for next year, and I think I should just try and do the same as I’ve always tried to do.”  He shifts in his chair and his voice sinks low, as if he doesn’t want to presume too far: “at some point, I guess I’ll want to do what everybody else has done—sit down and try to write about what I’ve found out so far.  But I’d much prefer just to go on and work.”

The National will be a strange place when Hytner steps down from his post in 2015.  I, for one, am too young to remember what it was like before he took the helm.  One thing is certain, though: his successor has the mother of all boots to fill.  We stand, exchange thanks, and he opens the door.  I take a last look out of the window, before exiting, stage left.