Archive | November, 2017

Interview with Rupert Jones

Interview with Rupert Jones

Posted on 08 November 2017 by Chris Ford


Kaleidoscope a new film  written and directed by Rupert Jones opens in UK cinemas on 10th November.  The film a drama inspired by the work of Hitchcock and Polanski. At the heart of this modern day Psycho are some unsettling questions: Can we ever escape the role in which we are cast by our early circumstances? Must a perpetrator first be a victim?

Staring  some amazing British talent in the form of Toby Jones, Anne Reid and Sinéad Matthews Kaleidoscope immerses us in the world of middle-aged Carl (Jones), recently released from prison, who is trying to adjust to life on the outside. His bleak life is challenged by the arrival of his controlling mother (Reid) just as he embarks on his first date in 15 years. The film is a twisted and tangled delve into one man’s psyche, as influences of past and present collide in his tortured mind. 

We recently spoke to Director Rupert Jones about the film:

Kaleidoscope film written directed by Rupert Jones starring Toby Jones photographed by Andrew Ogilvy Photography


Where did the idea of KALEIDOSCOPE come from?

I’m never sure where ideas come from. This began with the notion of a man who wakes to find a dead body in his bathroom and with no memory of how it got there. Everything came from that, really. How did the body get there? And what to do now? The next big idea, I suppose, was the notion that the man’s mother would be the quasi detective of the piece.

How did you go about setting the tone – what did your DoP help bring for the aesthetic?

I guess the two biggest aesthetic choices were that we were going to imagine that the previous tenants of the flat had lived there for decades without changing anything; and that we were going to light the film with hard shadows and pretty severe contrast. Philipp Blaubach, the DP, was absolutely tireless. Some of the more challenging shots are in the film because of his dedication. Even though we were working six day weeks, Philipp built a large scale kaleidoscope at home which enabled us to get the interior shots of the kaleidoscope. He was also, along with the grip Chris Rusby, instrumental in making the stair shots attainable.

What has it been like working with your brother, Toby?
I’ve worked with Toby a couple of times before, so I knew we’d function okay. We see a fair amount of each other, so we’re quite used to communicating. Given that it was such a quick shoot, there isn’t much time for anything outside the work and I think we’re both professionally minded, which is to say there for the same reason – to realise the script.

How did you get Anne Reid and Sinead Matthews involved?
I met Sinead through a casting director. Given her character’s nefarious motives in the film, it was important to cast someone we instantly liked. Sinead is very alive and charismatic and sexy, so it was fairly easy to see her in the part straight away. There were various issues that complicated the casting along the way, so it was not until we were well into pre-production that we cast her. Thankfully she said yes. Casting Anne was actually quite straight forward. She’s a fantastic and intuitive actor with great authority, which is the bottom line for me. When we approached her, she asked to meet and we did and she agreed. I think she was intrigued and challenged by the script and rather relished the prospect of playing against type.

Is there a specific reason that London felt right for the setting?
Not really. I guess it was the most convenient and realistic.

The film has been noted as a modern-day Hitchcockian and Polanksi-esque drama; what inspired you in the writing and final directing stage?
Any mention of Hitchcock or Polanski in relation to the film feels very flattering. The challenge of holding the audience in a state of suspense was something I was really interested in from a craft point of view. As a writer, I wanted to engineer a story that worked in that way, I was interested in the demands of that kind of structure. I watched a number of Hitchcock films, as I was writing, but I couldn’t point to any specific aspect. I was interested in he Tenant which is a film that rather haunted me when I was a child – it’s strange atmosphere, and that somehow i was dealing with things beyond my field of experience.

Have you got anything else in the pipeline?
Yes, a few things in various states of completion. But I’d rather not say what these are. Superstition.




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V-MODA: Crossfade 2 Wireless – Review

V-MODA: Crossfade 2 Wireless – Review

Posted on 07 November 2017 by Chris Ford


Recently V-Moda sent over their new flag ship Bluetooth headphones the Crossfade 2 Wireless for us to take a look at, and my hour long commute each day I took them on a two week trial run. Here’s my thoughts on how they stack up to my current headphones the Bose QC35’s.

Sound Quality

I’ve used a variety of Bluetooth headphones over the years (most recently the direct competitor to to these Vmodas the Bose QC35) and I was instantly struck by the sound, both power, clarity of bass all very strong, these quite frankly make my Bose headphones sound muddy! And I was totally happy with them beforehand.

Noise Cancelling

So the V-Modas do not have active noise cancelling instead they use what they call passive noise isolation. The ear cups are extremely well insulted meaning a natural barrier to outside noise without the need for powered assistance, and yes it does work quite well. Is the noise cancelling as good as something like the Bose QC 35? Well no not quite but it’s not far off. On a packed train to work I could hear my music crisply and clearly without the distraction of the rumbling train, again on a short flight to Belgium the noise cancelling was just as affective  without the power draining ANC on something like the Bose.

Battery Life

On battery life they beat competitors hands down,  with a 15% Longer Battery than than the original Crossfade this bigger battery provides up to 14+ hours of music with no ANC and they can also be used with the cable even when the juice dies which was a massive plus to me when testing.


The Vmoda crossfade 2 are extremely comfortable, Id go as far to say they are a pleasure to put on my ears, with some over ear headphones I find they pinch my ears but the Vmoda’s comfortably surround my ears with the memory foam cushions blocking the outside world wonderfully

Looks & Design

The Vmoda Crossfades 2 come in a striking and a tad unusal design compared to a lot of cans but that’s no bad thing, there’s also the ability to change the side plates for different colours or even custom engravings if you really want that bespoke feel.

Using Vmodas ‘CliqFold Hinge’ the headphones fold into an impossibly small exoskeleton case perfect for on the go and traveling.


I have been really impressed by the Vmoda Crossfade 2. The sound quality , battery life and comfort are all on point, there is a slight compromise on noise cancelling abilities compared to some active noise cancelling models out there but the foam cups in our  testing did a excellent job blocking the outside world.

Vmoda Crossfade 2 Wiresless are out now and currently £279.99 on

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