Manual MARATHON or The Secrets of Scary People

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The oldest woman this year is Eileen Noble, from Bexleyheath, who is 83 and running her 16th London Marathon. Noble says running and marathon training in particular has helped her not only stay physically healthy but has helped her mentally overcome some tough times. He died 16 years ago in the January and I ran the marathon that April. I remember running four hours and 59 minutes that year and being really pleased to scrape in under five hours. Noble may be well into double figures in the number of completed London Marathons but that does not mean the excitement of the event has waned.

We got everything much later than the States.

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So I would have seen it when I was like probably 13 or So, yeah, quite a bit later than it actually came out. Later in my life, I made a movie called Rogue.

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It ended up being described as a serious big-monster feature with a big crocodile rather than a shark. But I think that movie was really all about trying to capture the great characterization and same sense of fear that Jaws did.

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Our movie ends with a minute sequence where you see the crocodile fully on screen because obviously we had CGI and the ability to create it realistically. But I was just so adamant that we had something physical on set for the actors to play with. Which is the way you would have done it back in the day. And animatronics have come a long way as well. It was kind of interesting creating a creature feature these days without the problems you would have had back then.

Particularly in those days, cameras were bigger. You needed more lighting. AVC: The best modern monster movies have a mixture. And the mechanical elements are still so fresh and amazing.

AVC: Physical and animatronic effects had gotten as good as they were possibly ever going to get, because after that, the entire industry shifted toward digital effects. They were actually planning to make that movie with stop-motion.

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Like all of the animation sequences that you see there, they were actually doing tests where they were doing stop-motion animation. And it really changed the film industry forever. We can never really go back, unfortunately. There is no future Phil Tippett. So it really has been a massive transformation in the last couple of years in how digital effects are thought about in movies.

What you can do is astonishing these days. And it has really changed movies entirely, and the content of what people want to see and can make. AVC: But does it benefit horror? You see two glimpses. There are different types of horror, obviously.

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  8. And you think about the first Blair Witch or Paranormal Activity , films that basically offer it entirely through implication. Jaws is a little bit that way. The fear is threaded in the mind of the audience, which will always be worth more than what you can show. Stephen King has an entire storytelling concept of implying the monster. Once you fully show it, it kind of blows it. And his whole thing is basically, never open the door. Because once you can physically see something, the human brain can quantify it and actualize what it is.

    The whole premise of The X-Files is you just get a glimpse of the door in each episode and it keeps going on forever and ever. So the rule of horror is never open the door, but, unfortunately, sometimes you have to because audiences either demand it or with some stories, you actually do need to see a little bit more. AVC: There is the possibility of taking it too far in the other direction. The first Alien works a lot on seeing glimpses. Alien is an example of the perfect combination of the two, where you spend a lot of the movie setting up this biology and the ideas of what this thing is and how it works.

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    And it also helps when you do have a few good monsters to show. But it is an ongoing love story with showing or not showing the monster, which is fun for horror fans, I think. AVC: How do you think sequels factor in? They have a tough job because you make a movie that works on the concept of implication like the first Jaws movie. What do the producers of that movie do for the sequel? And then what you have is Jaws 2 and Jaws 3 , which completely ignore why the first film was good. I was better on the downs than the ups. The first six miles are a great spot to ease into the run and get warmed up.

    Ryan: I always saw the downhills as free time to be bagged. When I was first studying about the history of Boston and all the different approaches to the course what I ultimately ended up going with was to run even effort throughout the course rather than even splits.

    So basically I would run it the same way I ran London, Chicago or any flat marathon—it was more that my splits would be all over the place. I would just let my legs go and enjoy the ride on the downhills. The tricky part is that big long downhill, where you should carefully enjoy the easier part of running downhill and position yourself comfortably.

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    Bill: Where I tried to race is where a lot of people try to race… coming out of Wellesley. If you run under control, you really feel pretty good, coming down out of Wellesley, headed to Newton Lower Falls. If you do set yourself up good, and have backed off that first half, you can run really good at Boston.