Some of the actors, especially Carlos Areces, can’t bear you to cut a single one of their jokes, even if it has come up while the scene is looking for itself and hasn’t yet gelled. After stretching the scenes out and blowing them up, I rewrite them again, trying to synthesize what has been improvised.
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With improvisations, the scenes usually grow longer, but it’s the best way I know to find nuances and parallel situations that I would never discover if we stuck rigidly to the script. I usually improvise a lot in rehearsals, then I rewrite the scenes and rehearse them again, and so on, to the point of obsession. They’re very verbal comedies: the action lies basically in the words and in the openness of the characters. I rehearse them like plays, but I don’t film them like plays (actually, I’ve never directed a play, so I don’t know what it’s like).
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As it happens, both Women on the Verge of a Nervous Breakdown and I’m So Excited! are play-like, in the sense that the action takes place mainly on one set. Spontaneity is always the product of rehearsal.Ī script isn’t finished until the film has opened. Photo courtesy of Sony Pictures Classics.Īlthough we associate comedy with spontaneity, the comedies I’ve made to date-including this new one, I’m So Excited!-are rehearsed exhaustively during preproduction and afterward during shooting.
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In short, The Thomas Crown Affair is a paeon to the forces of globalization. And as we enter blockbuster season, a time of rich and disposable spectacle, it is amazing to revisit this high-gloss 1968 potboiler-what once passed for a summer blockbuster-and discover that not only is it still fresh, but, in the context of some of our most pressing contemporary anxieties, it is disconcertingly prophetic. While for most of us the anniversary of a film might not seem like cause for celebration, I find that birthdays ending in zeros or fives have a momentous quality that welcomes grave rumination. June 19, 2013, marked the forty-fifth anniversary of the release of The Thomas Crown Affair-the original version, directed by Norman Jewison and written by Alan Trustman. JOn Film Thomas Crown’s Global Vision By Jason Z.