Le scénario de Tom Stoppard

Aller en bas

Le scénario de Tom Stoppard

Message  Luce le Ven 29 Juin 2012 - 9:52

En attendant de lire ce scénario, voici quelques "répliques mémorables" recueillies dans la bande-annonce, sur IMDb.

Rappels des parti-pris du scénario et des choix du cinéaste :
Tolstoy wrote it as an accessible piece. It’s a family drama. War and Peace was his big political drama and Anna Karenina, as he says in the first sentence, is about families. 'Happy families are all happy in the same way. Unhappy families are all unhappy in different ways.' So he wrote it to be read by the new emerging literate Russian population. Obviously, it goes off into analytical theoretical studies of the Russian agricultural system which I won’t involve in the script. But the actual plot of it is fairly simple and very emotional."
source (mars 2011)
Wright will focus on the multi-stranded nature of the novel, incorporating all the other characters’ stories, not just Anna’s.He notes that the screenplay — which is being written by that no-talent hack playwright/screenwriter Tom Stoppard — will feel Robert Altmanesque in structure. Wright is a fan — and was a good friend — of Altman.
source (avril 2011)
There is no Inception-type puzzle to solve; the story of AK remains firmly their film. Wright's daring vision is about enhancing the central drama. "The stylisation is not an embellishment but a subtraction," he says. "This is possibly my least indulgent film; everything is at the service of the story. And this is the most amazing study of love, and I am interested in love and why and how the fuck it works."
source (janvier 2012)
‘As far as Tolstoy was concerned, he was writing a book about a woman who was a sinner — a fallen woman,’ Wright says. ‘He wasn’t writing about her as a heroine. He started off writing this book about a good husband and a bad wife. But then, as he wrote, he fell in love with Anna.’

Wright’s basing his version of Tolstoy’s great novel on a powerful screenplay by Tom Stoppard, in which the playwright gives equal weight to the parallel stories of Anna’s cuckolding of her husband Karenin (Law), and her passionate affair with Count Vronsky (Johnson), and also the romance between Levin (Domhnall Gleeson) and Kitty (Alicia Vikander).

Stoppard’s view is that most previous versions made the mistake of favouring Anna’s story over Levin’s. ‘Tom turned in one draft and it was all there,’ marvels producer Paul Webster.
source (janvier 2012)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Tom Stoppard

Message  Luce le Mar 14 Aoû 2012 - 13:19

Front Row, Monday 20/08/2012, 19:15 on BBC Radio 4:
With Mark Lawson, including an interview with Tom Stoppard about his TV adaptation of Ford Madox Ford's Parade's End and his screenplay for Anna Karenina.

avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Tom Stoppard

Message  Luce le Ven 24 Aoû 2012 - 6:44

Tom Stoppard interview for Parade's End and Anna Karenina (The Telegraph, 24 août 2012)
On the surface at least, Anna Karenina seems to have brought together Stoppard the playwright and Stoppard the scriptwriter for the first time — almost the entire film, including the famous steeplechase scene, is set in a rundown Moscow theatre. In fact, the idea to set it in a theatre came not from him, but from the director, Joe Wright.

“All that happened long after I’d written the script. However, I admire the boldness of it. Possibly there’s a price to play in some respects, but I think it’s worth it. Certainly, I’d be feeling a lot more uncomfortable if I was sitting here suspecting that we’d succeeded in making the 78th beautiful costume drama of the last five years. I think of that as being a fate that we’ve escaped.”
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Ven 31 Aoû 2012 - 8:05

“The producers had amazing faith in me (Joe), but the person I was most scared of telling about this was Tom because he’d written this script which was brilliant and perfect and set in the way he’d envisaged the film. At first he was nervous, but then he came ‘round. I took his text and transposed it from real locations to the stylized location; every single event and word in his adaptation was shot.”

Stoppard remembers, “Joe told me he didn’t want to alter the script – aside from the scene, or stage, directions – but at first I didn’t know what I thought. He then came to see me with this scrapbook which contained the film as he now saw it. Seeing it, I put my money on him to pull this off.”
source (août 2012)

On the surface at least, Anna Karenina seems to have brought together Stoppard the playwright and Stoppard the scriptwriter for the first time — almost the entire film, including the famous steeplechase scene, is set in a rundown Moscow theatre. In fact, the idea to set it in a theatre came not from him, but from the director, Joe Wright.

“All that happened long after I’d written the script. However, I admire the boldness of it. Possibly there’s a price to play in some respects, but I think it’s worth it. Certainly, I’d be feeling a lot more uncomfortable if I was sitting here suspecting that we’d succeeded in making the 78th beautiful costume drama of the last five years. I think of that as being a fate that we’ve escaped.”
source (août 2012)

While Kiera Knightly is Anna, Tannishtha is playing Masha, the beleaguered female companion of Nicholas. “Initially, in the script it was quite substantial but in the version that I saw recently in London, it has come down quite a bit. Still I have a song and it is quite unique.”

Shot in London and Russia, the film has a period setting but a contemporary zing to it, says Tannishtha. “It deals with different layers of a love story. There is debauched love story, there is a pure love story… then there is a love story with a class conflict of which I am a part
source (août 2012)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Dim 2 Sep 2012 - 7:38

Tom Stoppard: 'Anna Karenina comes to grief because she has fallen in love for the first time' (The Observer, 2 septembre 2012).
Tom Stoppard says his original approach to writing the screenplay for Joe Wright's new film adaptation of Anna Karenina was for a fast, modern movie about being in lust. Then wiser counsels – including his own – prevailed
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Tom Stoppard

Message  Luce le Jeu 13 Sep 2012 - 22:06

Marina a écrit:5 SEPT: INDEX AT THE PICTUREHOUSE – A PREVIEW OF ANNA KARENINA + LIVE Q&A WITH SIR TOM STOPPARD (Index on censorship, 10 août 2012).
To celebrate our 40th birthday, Index is teaming up with Picturehouse cinemas to host a preview screening of Anna Karenina, directed by Joe Wright, featuring Keira Knightley and Jude Law. The screening will be followed by a live Q&A with screenplay writer Sir Tom Stoppard, chaired by Sandra Hebron, which will be broadcast by satellite to 19 Picturehouse venues around the UK.
Preview: Tom Stoppard on Anna Karenina : un rapide compte-rendu par Helen Smith, sur son blog, le 6 septembre 2012.
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Mar 23 Oct 2012 - 16:45

First Batch of Downloadable Oscar Screenplays Includes 'Moonrise Kingdom,' 'Ted,' and More (ROS, 22 octobre 2012).
while still holding off with titles not yet in theaters such as Anna Karenina
Patience, donc. bounce
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Mer 31 Oct 2012 - 22:57

Anna Karenina: The Screenplay, version papier, en vente le 13 novembre 2012 chez Random House.

Synopsis :
WITH AN INTRODUCTION BY TOM STOPPARD

Our most esteemed living playwright adapts the most famous love story ever written in the screenplay for the new Focus Features film Anna Karenina, directed by Joe Wright, starring Keira Knightley and Jude Law.

Tolstoy’s brilliant novel, tracing the tragic love affair between Count Vronsky and the unhappily married Anna, has moved readers for generations. Now, award-winning playwright Tom Stoppard re-imagines what Vladimir Nabokov called “one of the greatest love stories in world literature” for the screen. In an impeccable match of talent between source and adaptation, Stoppard projects Tolstoy’s powerful contrasts between city and country, love and death, happiness and unhappiness. The result is beautiful, stirring, and at once old and new. A special introduction by Stoppard offers a glimpse into the process behind his remarkable interpretation.
Extrait de l'introduction : Very Happy

Spoiler:
Introduction

Between the first draft and the finished film, a screenplay normally passes through any number of stages. At the beginning, and for perhaps a couple of further drafts, scripts are white, but later each generation of altered pages is printed out on paper of successively changing colour, so by the time filming is over a typical shooting script is as colourful as a rainbow. The script of Joe Wright’s Anna Karenina was no exception. However, the screenplay as published here is founded on the white pages of the first and second drafts, with some nods to coloured pages, particularly those announcing certain deletions, for page count is not as unforgiving as running time.

This is not to say that I have restored everything the movie had no room for. In Tolstoy, Anna and Vronsky begin their life together by running off to Italy. Against Joe’s better instincts, I duly wrote an Italian sequence that was duly chopped long before we went into production. There was also a duel scene (of which more below) which made it as far as the cutting room. On the other hand, I have retained the original opening. We had decided to begin the film at Levin’s place in the country where the story was to end. The birth of a calf was the main event of the first pages. But all of that became an impossibility, and the reason for that (although other reasons might have prevailed even so) is of particular relevance here, because the screenplay now published takes no account of the greatest change that occurred to the movie between the writing and the filming. If this book were the shooting script, it would begin like this:


Much of the action takes place in a large, derelict nineteenth-century Russian theatre—not in the sense of “onstage” only, but often in different parts of the theatre, e.g., the auditorium, the wings, backstage, the under-stage, the fly-tower, etc.

A bold stroke. When Joe told me about his conception, he added that he didn’t want any changes to the script. The scenes would remain just as they were, and would be performed as in a realistic movie, for their emotional truth. He explained, too, that the “theatre idea” would not apply to the country scenes. In Moscow and St. Petersburg, and in the life of Society generally, including, for example, the steeplechase, the scenes would be placed in different parts of the theatre (thus, the first “town scene,” Oblonsky being shaved, would introduce the concept) but country life and nature would be conventionally naturalistic.

It became clear that to go from Levin (delivering the calf and having his dinner) to a theatre curtain rising on Oblonsky and the barber would be too dislocating. The movie would have to begin by setting out its stall, and so it does. The omitting of the first scene was the only change brought about on stylistic grounds, and it was a low price to pay for the rewards to come. If I had any doubts, they were stilled at that first meeting when Joe showed me his new storyboards of the steeplechase with seventeen horses galloping across the stage and Society watching from the dress circle as Vronsky’s horse tumbled over the footlights.

Rather than attempting a description of the style in operation, I’ve opted for laying out the script in the form in which I wrote it, and there are some losses in doing so. Perhaps my favourite moment onscreen is when Anna, leaving Oblonsky’s house, and Levin, walking away from meeting his brother in town, cross paths on the stage. The back of the stage opens to reveal the snowy landscape Levin is going home to, and the two worlds elide for a moment before they separate. Another layered moment occurs at the end of Levin’s restaurant meal with Oblonsky, when Kitty calls down to Levin from the theatre balcony, where she is in her own home, and Levin looks up to see her there. Audio overlaps are, of course, commonplace in films, but here and in many other places it’s the location itself which overlaps, and Joe’s treatment of reality lifts the spirits in a way impossible to convey with a conventional scene break.
Toute l'introduction est proposée en aperçu, de même que les 8 premières pages du script, en cliquant sur le livre. Cool

avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Jeu 1 Nov 2012 - 21:53

Edition également disponible, le 13 novembre 2012, chez Barnes & Noble.
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Sur Amazon.fr

Message  Luce le Sam 10 Nov 2012 - 11:12

avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Sam 10 Nov 2012 - 12:56

Merci. J'ai ajouté les articles à la boutique aStore (et acheté le scénario version Kindle sur iPad). Very Happy
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Sam 10 Nov 2012 - 14:28

Nom de Dieu, que de scènes omises dans le film !
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Dim 11 Nov 2012 - 9:19

Mais quel scénario !
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Révolution Copernicienne

Message  Luce le Dim 11 Nov 2012 - 9:37

Pas encore tout à fait fini de le lire. Wink Et, incroyable, toutes les scènes (parlées) ont été tournées ! J'aimerais tant voir maintenant le "storyboard" de David Allcock que Joe Wright a présenté à Tom Stoppard pour le convaincre du bienfondé de tout situer dans un théâtre ! bounce

The producers had amazing faith in me (Joe), but the person I was most scared of telling about this was Tom because he’d written this script which was brilliant and perfect and set in the way he’d envisaged the film. At first he was nervous, but then he came ‘round. I took his text and transposed it from real locations to the stylized location; every single event and word in his adaptation was shot.”

Stoppard remembers, “Joe told me he didn’t want to alter the script – aside from the scene, or stage, directions – but at first I didn’t know what I thought. He then came to see me with this scrapbook which contained the film as he now saw it. Seeing it, I put my money on him to pull this off.
("Storyboard" et "scrapbook": est-ce exactement la même chose ?)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Mer 14 Nov 2012 - 20:36

avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Ven 16 Nov 2012 - 21:11

Tom Stoppard & Joe Wright on “Anna Karenina” on Charlie Rose talkshow (15 novembre 2012)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Focus Features

Message  Matthieu le Mer 21 Nov 2012 - 10:12

avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Jeu 20 Déc 2012 - 20:54

OSCARS Q&A: Tom Stoppard (Deadline, 17 décembre 2012)
This was a few weeks before we went into production, and he came to my flat with this big file, which turned out to contain the storyboards of a lot of the movie.
(Storyboard=scrapbook)
AwardsLine: Once you got into postproduction, what kind of changes did you see?

Stoppard
: You always end up with too much, so it’s good to be part of the conversation about not just what you can omit, but how you are going to do the grammar of the omission, how you make things continue to work when there’s something missing. It’s your last chance to rewrite. Rewriting isn’t just about dialogue, it’s the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you’re there, watching. It’s really enjoyable, but you’ve got to be there at the director’s invitation. You can’t just barge in and say, “I’m the writer.” (Laughs.)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Mer 26 Déc 2012 - 22:55

Luce a écrit: J'aimerais tant voir maintenant le "storyboard" de David Allcock que Joe Wright a présenté à Tom Stoppard ...
Plusieurs planches sont maintenant en ligne sur le site de David Allcock. Cool
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Matthieu le Mer 2 Jan 2013 - 3:57

Q&A: Tom Stoppard On Anna Karenina (Awards Line, 28 décembre 2012).
avatar
Matthieu
Fan libre

Nombre de messages : 6888
Age : 56
Localisation : Lorraine
Date d'inscription : 17/12/2008

http://www.matthew-macfadyen.org/

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Mer 2 Jan 2013 - 9:57

Matthieu a écrit:Q&A: Tom Stoppard On Anna Karenina (Awards Line, 28 décembre 2012).
Toujours agréable à lire mais ce Q&A a déjà été posté un peu plus haut. Wink
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Tolstoï / Stoppard

Message  Luce le Jeu 3 Jan 2013 - 0:01

Sur leur blog, les Editions Oxford University Press mettent en regard des extraits d'Anna Karenina de TolstoÏ, dans une nouvelle traduction en anglais de Louise et Alymer Maude, et le film de Joe Wright adapté par Tom Stoppart :

-Anna Karenina’s conduct (16 novembre 2012)
-You must forget me (22 décembre)
-Love and appetite in Anna Karenina ((31 décembre)

Edit
-Anna Karenina’s happiness (12 février 2013)
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Luce le Sam 16 Fév 2013 - 19:09

Tom Stoppard on Adapting 'Anna Karenina,' Writing for Harrison Ford and Sean Connery (The Hollywood Reporter, 15 février 2013)
Anna Karenina was a happy time, too. What you want to have happen is to write your first draft because for a writer, it's not a first draft -- it's it. It's only other people who tell you it's a first draft. Although one keeps working, of course, right through postproduction. Essentially, [director] Joe Wright read the first draft and liked it very much. That's always a good start, isn't it?
avatar
Luce
Fan extraordinaire
Fan extraordinaire

Nombre de messages : 4956
Age : 66
Localisation : Toulouse ou ailleurs
Date d'inscription : 11/03/2009

Revenir en haut Aller en bas

Re: Le scénario de Tom Stoppard

Message  Contenu sponsorisé


Contenu sponsorisé


Revenir en haut Aller en bas

Revenir en haut


 
Permission de ce forum:
Vous ne pouvez pas répondre aux sujets dans ce forum