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Alan Parker
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Alan Parker (born in 1944, in Matlock, Derbyshire) is a guitarist and composer best known for his work in the band Blue Mink.Trained by Julian Bream at London's Royal Academy of Music. Was a successful session guitarist in the late 60's ... went to play with his own band The Congregation. Much of Parker's session work has gone uncredited but recently he has been named as the electric guitarist on Donovan's Hurdy Gurdy Man.
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Alan Parker-Urban Warrior is a bedsit anarchist inspired by the lyrics of punk bands, namely Sham '69 and The UK Subs. Described as a "Wolfie Smith for the nineties" (The Independent) - Alan is a self-appointed spokesperson for the dispossesed generation and prophet to the disconnected masses etc, seeking to smash the system with subversion, some placards and a spray-can. In this new show Alan traverses the bourgeois-fascist-middle-class-nazi-fascist worlds of art, politics and music, promising lots of truth, plenty of shouting, fashion advice ("ignore it") and absolutely NO lies.
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Born in London, England, Alan Parker started his career as an advertising copywriter in the 1960s. From there, he moved on to direct commercials. In 1971, Melody, his first screenplay was produced, starring two of the hottest young British actors at the time, Mark Lester and Jack Wild, reunited for the first time since their roles in the Oliver! (1968).
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Alan Parker wrote and directed his first film, Bugsy Malone, in 1975. The film was a musical pastiche of 1920s gangster films with an entire cast of children. The highly original film received eight British Academy Award nominations and five awards.
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Alan Parker, whose films include "Midnight Express," and "The Commitments," is in negotiations to write and direct a screen adaptation of Jamila Gavin's award-winning young-adult novel "Coram Boy," Reuters reported. Stage adaptations of the story about abandoned 18th-century children have played in London and New York.
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Sir Alan leaves little to chance. "We always shoot wild track on every single new location that we do," he emphasizes. "For example, on Mississippi Burning, we recorded wild sound all over the South to give the film its atmospheres. But the sound men are always very busy, and their priority has to be recording the dialogues." He uses a boom mic around ninety percent of the time. "I'm very sensitive to the needs of sound in that regard.
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Alan Parker