Adapting Don Quixote: Terry Gilliam's Picaresque Journey in the Film
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He Dreams of Giants
From the makers of Lost In La Mancha comes A Tale of Obsession… He Dreams of Giants A film by Keith Fulton and Lou Pepe RUNNING TIME: 84 minutes United Kingdom, 2019, DCP, 5.1 Dolby Digital Surround, Aspect Ratio16:9 PRESS CONTACT: Cinetic Media Ryan Werner and Charlie Olsky 1 SYNOPSIS “Why does anyone create? It’s hard. Life is hard. Art is hard. Doing anything worthwhile is hard.” – Terry Gilliam From the team behind Lost in La Mancha and The Hamster Factor, HE DREAMS OF GIANTS is the culmination of a trilogy of documentaries that have followed film director Terry Gilliam over a twenty-five-year period. Charting Gilliam’s final, beleaguered quest to adapt Don Quixote, this documentary is a potent study of creative obsession. For over thirty years, Terry Gilliam has dreamed of creating a screen adaptation of Cervantes’ masterpiece. When he first attempted the production in 2000, Gilliam already had the reputation of being a bit of a Quixote himself: a filmmaker whose stories of visionary dreamers raging against gigantic forces mirrored his own artistic battles with the Hollywood machine. The collapse of that infamous and ill-fated production – as documented in Lost in La Mancha – only further cemented Gilliam’s reputation as an idealist chasing an impossible dream. HE DREAMS OF GIANTS picks up Gilliam’s story seventeen years later as he finally mounts the production once again and struggles to finish it. Facing him are a host of new obstacles: budget constraints, a history of compromise and heightened expectations, all compounded by self-doubt, the toll of aging, and the nagging existential question: What is left for an artist when he completes the quest that has defined a large part of his career? 2 Combining immersive verité footage of Gilliam’s production with intimate interviews and archival footage from the director’s entire career, HE DREAMS OF GIANTS is a revealing character study of a late-career artist, and a meditation on the value of creativity in the face of mortality. -
Switchblade Comb" by Mobius Vanchocstraw
00:00:00 Music Music "Switchblade Comb" by Mobius VanChocStraw. A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. 00:00:08 April Wolfe Host Welcome to Switchblade Sisters, where women get together to slice and dice our favorite action and genre films. I'm April Wolfe. Every week, I invite a new female filmmaker on—a writer, director, actor, or producer—and we talk in-depth about one of their fave genre films, perhaps one that influenced their own work in some small way, and today I'm very excited to have screenwriter/playwright Claire Kiechel with me. Hi, Claire! 00:00:28 Claire Guest I'm so happy to be here! Kiechel [Music fades out.] 00:00:30 April Host For those of you who aren't as familiar with Claire's work, please let me give you an introduction. Claire is a bi-coastal theatre-maker and film and TV writer. She earned her BA from Amherst College before jumping up to the New School of Drama for her MFA. Since then she's stayed very busy, receiving commissions from Actors Theatre of Louisville, South Coast Rep, and the Alley Theatre. Her plays include Paul Swan is Dead and Gone at the Civilians at Torn Page, Sophia at Alley Theatre All New Festival in 2019—with an upcoming world premiere at the Alley in 2020. She's also brought sci-fi to the stage with Pilgrims at the Gift Theatre, which got a spot on the Kilroys' The List in 2016. -
The Universal Quixote: Appropriations of a Literary Icon
THE UNIVERSAL QUIXOTE: APPROPRIATIONS OF A LITERARY ICON A Dissertation by MARK DAVID MCGRAW Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Eduardo Urbina Committee Members, Paul Christensen Juan Carlos Galdo Janet McCann Stephen Miller Head of Department, Steven Oberhelman August 2013 Major Subject: Hispanic Studies Copyright 2013 Mark David McGraw ABSTRACT First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near- universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17th century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly. -
Don Quijote Por Tierras Extranjeras
Coordinador: Hans Christian Hagedorn Don quijote por tierras extranjeras colecclón HUMANIDADES DON QUIJOTE POR TIERRAS EXTRANJERAS Estudios sobre la recepción internacional de la novela cervantina This One AASZ-32X-UKRJ DON QUIJOTE POR TIERRAS EXTRANJERAS Estudios sobre la recepción internacional de la novela cervantina Juan Bravo Castillo Ana Fe Gil Serra Hans Christian Hagedorn Georg Pichler Francisco M. Rodríguez Sierra Ramón García Pradas María Teresa Pisa Cañete Beatriz González Moreno Eduardo de Gregorio Godeo y Silvia Molina Plaza Ana Ma Manzanas Calvo y Jesús Benito Sánchez Ángel Mateos- Aparicio Martín- Albo Elena Elisabetta Marcello María Cristina Alonso Vázquez José María Ortiz Martínez Juan José Pastor Comín Lydia Reyero Flores Hans Christian Hagedorn (coord.) Ediciones de la Universidad de Castilla-La Mancha Cuenca, 2007 DON QUIJOTE por tierras extranjeras : estudios sobre la recepción internacional de la novela cervantina / Juan Bravo Castillo ... [et al.] ; coordinador, Hans Christian Hagedorn- Cuenca : Ediciones de la Universidad de Castilla-La Mancha, 2007 376 p. ; 22 cm- (Humanidades ; 89) ISBN 978-84-8427-448-3 1 . Cervantes Saavedra, Miguel de ( 1 547- 1616). Don Quijote de la Mancha - Influencia 2. Estética de la recepción 3. Literatura - Historia y crítica I. Bravo Castillo, Juan II. Hagedorn, Hans Christian, coord. III. Universidad de Castilla-La Mancha, ed. IV. Serie 821.134.2 Cervantes Saavedra, Miguel de 7 Quijote 1.07 82.09 Esta edición es propiedad de EDICIONES DE LA UNIVERSIDAD DE CASTILLA-LA MANCHA y no se puede copiar, fotocopiar, reproducir, traducir o convertir a cualquier medio impreso, electrónico o legible por máquina, enteramente o en parte, sin su previo consentimiento. -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
Lost in La Mancha
LOST IN LA MANCHA Available: C urrent Video : N/A Country: USA Distributor: Odeon Films Directors: Keith Fulton, Louis Pepe Running T ime: 89 min Rating: ON - AA AB - 14A "Making a film is essentially about two things: belief and momentum." Terry Gilliam Terry Gilliam first dreamt of making a film based on Don Quixote soon after completing the wonderfully zany THE ADVENTURES OF BARON MUNCHAUSEN. At that time, he was suffering from what he has called "PMS" (Post Munchausen Syndrome), the fallout from the notorious 1989 production that cemented his reputation as a uncontrollable filmmaker. The proposed film would be called THE MAN WHO KILLED DON QUIXOTE and would tell the story of an arrogant ad executive (Johnny Depp, EDWARD SCISSORHANDS) who mysteriously stumbles into seventeenth-century Spain and meets Don Quixote (Jean Rochefort, READY TO WEAR). After a decade of development, production began in October 2000 - it was a fiasco. Keith Fulton and Louis Pepe's fascinating behind-the-scenes documentary, LOST IN LA MANCHA, follows Gilliam's doomed dream project from the final stages of pre- production through the first days of actual filming. Conveying a sense of QUIXOTE'S potential, LOST IN LA MANCHA is also a catalogue of crises: NATO jets buzzing over a seventeenth- century set; absent and injured star actors; fragile financing involving companies in England, Spain, France and Germany; and, underscoring the biblical proportions of it all, on the third day it rained — heavily. Watching Gilliam struggle with the problems of making a "studio-type" film with a relatively modest budget of $32 million, LOST IN LA MANCHA also serves as a compelling study of the clash between Hollywood's star-driven mode of production and a European model that serves the director. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Asides Magazine
2014|2015 SEASON Issue 5 TABLE OF Dear Friend, Queridos amigos: CONTENTS Welcome to Sidney Harman Bienvenidos al Sidney Harman Hall y a la producción Hall and to this evening’s de esta noche de El hombre de La Mancha. Personalmente, production of Man of La Mancha. 2 Title page The opening line of Don esta obra ocupa un espacio cálido pero enreversado en I have a personally warm and mi corazón al haber sido testigo de su nacimiento. Era 3 Musical Numbers complicated spot in my heart Quixote is as resonant in el año 1965 en la Casa de Opera Goodspeed en East for this show, since I was a Latino cultures as Dickens, Haddam, Connecticut. Estaban montando la premier 5 Cast witness to its birth. It was in 1965, at the Goodspeed Twain, or Austen might mundial, dirigida por Albert Marre. Se suponía que Opera House in East Haddam, CT. They were Albert iba a dirigir otra premier para ellos, la cual iba 7 About the Author mounting the world premiere, directed by Albert be in English literature. a presentarse en repertorio con La Mancha, pero Albert Marre. Now, Albert was supposed to direct another 10 Director’s Words world premiere for them, which was going to run In recognition of consiguió un trabajo importante en Hollywood y les recomendó a otro director: a mí. 12 The Impossible Musical in repertory with La Mancha, but he got a big job in Cervantes’ legacy, we at Hollywood, and he recommended another director. by Drew Lichtenberg That was me. STC want to extend our Así que fui a Goodspeed y dirigí la otra obra. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English. Arrangement Due to size, this inventory has been divided into two separate units which can be accessed by clicking on the highlighted text below: Tom Stoppard Papers--Series descriptions and Series I. through Series II. [Part I] Tom Stoppard Papers--Series III. through Series V. and Indices [Part II] [This page] Stoppard, Tom Manuscript Collection MS-4062 Series III. Correspondence, 1954-2000, nd 19 boxes Subseries A: General Correspondence, 1954-2000, nd By Date 1968-2000, nd Container 124.1-5 1994, nd Container 66.7 "Miscellaneous," Aug. 1992-Nov. 1993 Container 53.4 Copies of outgoing letters, 1989-91 Container 125.3 Copies of outgoing -
¿Un Don Quijote Aún Más Loco?: La Reconstrucción Del Personaje Cervantino En El Hombre Que Mató a Don Quijote De Terry Gilliam (2018)
Anagnórisis. Revista de investigación teatral, nº. 20, diciembre de 2019 Págs. 274-295, ISSN: 2013-6986 www.anagnorisis.es ¿Un don Quijote aún más loco?: la reconstrucción del personaje cervantino en El hombre que mató a don Quijote de Terry Gilliam (2018) Alberto Gutiérrez Gil Universidad de Castilla-La Mancha [email protected] Palabras clave: Terry Gilliam. Don Quijote. Adaptación cinematográfica. Realidad y ficción. Resumen: El hombre que mató a don Quijote (2018) es el faraónico y desdichado proyecto que ha sumido al gran Terry Gilliam en más de dos décadas de trabajo en torno a su personaje predilecto: don Quijote, la encarnación de la locura, el humor y la ironía (señas de identidad de su filmografía). A través del presente estudio nuestra intención es la de analizar de qué manera el actor y director británico ha reconstruido al más conocido personaje de ficción de la literatura española, centrándonos en dos polos complementarios: el trabajo de construcción del personaje fílmico a partir del personaje literario (teniendo en cuenta los principales episodios tomados de la novela cervantina y cómo son releídos en el largometraje) y la actualización o contemporaneización del hidalgo manchego, transfigurado en un enloquecido anciano que se cree don Quijote y que confunde a un ejecutivo publicitario con Sancho Panza. Un don Quichotte encore plus fou ? : La reconstruction du personnage de Cervantes dans L´homme qui tua don Quichotte de Terry Gilliam (2018) Mots-clés: Terry Gilliam. Don Quichotte. Adaptation cinématographique. Réalité et fiction. Résumé: L‘homme qui tua don Quichotte (2018) est le pharaonique et malheureux projet dans lequel le gran Terry Gilliam se plongea pendant deux décennies autour de son personnage préféré : don Quichotte, l‘incarnation de la folie, de l‘humour et de l‘ironie (signes d‘identité de sa filmographie). -
MONTY PYTHON at 50 , a Month-Long Season Celebra
Tuesday 16 July 2019, London. The BFI today announces full details of IT’S… MONTY PYTHON AT 50, a month-long season celebrating Monty Python – their roots, influences and subsequent work both as a group, and as individuals. The season, which takes place from 1 September – 1 October at BFI Southbank, forms part of the 50th anniversary celebrations of the beloved comedy group, whose seminal series Monty Python’s Flying Circus first aired on 5th October 1969. The season will include all the Monty Python feature films; oddities and unseen curios from the depths of the BFI National Archive and from Michael Palin’s personal collection of super 8mm films; back-to-back screenings of the entire series of Monty Python’s Flying Circus in a unique big-screen outing; and screenings of post-Python TV (Fawlty Towers, Out of the Trees, Ripping Yarns) and films (Jabberwocky, A Fish Called Wanda, Time Bandits, Wind in the Willows and more). There will also be rare screenings of pre-Python shows At Last the 1948 Show and Do Not Adjust Your Set, both of which will be released on BFI DVD on Monday 16 September, and a free exhibition of Python-related material from the BFI National Archive and The Monty Python Archive, and a Python takeover in the BFI Shop. Reflecting on the legacy and approaching celebrations, the Pythons commented: “Python has survived because we live in an increasingly Pythonesque world. Extreme silliness seems more relevant now than it ever was.” IT’S… MONTY PYTHON AT 50 programmers Justin Johnson and Dick Fiddy said: “We are delighted to share what is undoubtedly one of the most absurd seasons ever presented by the BFI, but even more delighted that it has been put together with help from the Pythons themselves and marked with their golden stamp of silliness. -
Masterarbeit Tobias Betz 2016 10 12.Pdf
Das Making-of als Dokumentarfilm und sein Vermarktungspotential Masterarbeit im Studiengang Elektronische Medien in der Vertiefung Audiovisuelle Medien vorgelegt von Tobias Betz Matr. Nr.: 29163 an der Hochschule der Medien Stuttgart am 12. Oktober 2016 zur Erlangung des akademischen Grades Master of Arts Erstprüferin Prof. Dr. Eva Stadler Zweitprüfer Prof. Stefan Grandinetti Erklärung Hiermit versichere ich, Tobias Betz, ehrenwörtlich, dass ich die vorliegende Masterarbeit mit dem Titel: „Das Making-of als Dokumentarfilm und sein Vermarktungspotential“ selbstständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmittel benutzt habe. Die Stellen der Arbeit, die dem Wortlaut oder dem Sinn nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der ehrenwörtlichen Versicherung und die prüfungsrechtlichen Folgen (§26 Abs. 2 Bachelor-SPO (6 Semester), § 24 Abs. 2 Bachelor-SPO (7 Semester), § 23 Abs. 2 Master-SPO (3 Semester) bzw. § 19 Abs. 2 Master-SPO (4 Semester und berufsbegleitend) der HdM) einer unrichtigen oder unvollständigen ehrenwörtlichen Versicherung zur Kenntnis genommen. Stuttgart, den 12. Oktober 2016 _____________________ Tobias Betz Kurzfassung Diese Arbeit befasst sich mit Making-ofs zu Filmen und ergründet deren Geschichte und Einsatz im Laufe der Zeit. Dabei werden sowohl die dokumentarischen Qualitäten als auch das Potenzial als Marketinginstrument untersucht. Hier werden verschiedene Arten von Making-of differenziert und anhand von Beispielen genauer erläutert. Der Herstellungsprozess von Making-ofs und deren Einsatz wird detailliert erklärt. Im Besonderen werden einige lange Making-ofs auf ihre dokumentarischen Qualitäten untersucht.