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Factors D'uniformització De La Narrativa Mainstream

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Factors D'uniformització De La Narrativa Mainstream This is the published version of the bachelor thesis: Plana Botey, Marc; Puyol González, Àngel, dir. Factors d’uniformització de la narrativa mainstream : el procés de desenvolupament del guió a Hollywood. 2011. This version is available at https://ddd.uab.cat/record/78184 under the terms of the license Factors d’uniformització de la narrativa mainstream: el procés de desenvolupament del guió a Hollywood. Marc Plana Botey. Tesina dirigida per Àngel Puyol. Setembre de 2011. Encantada por su rigor, la humanidad olvida y torna a olvidar que es un rigor de ajedrecistas, no de ángeles. Jorge Luis Borges, Tlön, Uqbar, Orbis Tertius [Borges, 1999:39] Una vegada em van preguntar: “¿És important que un director sàpiga escriure?”, i vaig respondre: “No, però sí és útil que sàpiga llegir”. Quan trobes un director que sap llegir, que sap preguntar les preguntes adequades, que no s’avergonyeix de dir: “no entenc el significat d’aquesta escena” enlloc d’anar a la localització i gravar a l’inversa allò que volies expressar amb aquella escena, agafa-t’hi fort. Si ets bo, estic segur que ell s’agafarà a tu perquè els bons guionistes són escassos Billy Wilder [Horton, 2001:121] Vivim submergits en la narració perquè ens expliquem a nosaltres mateixos, i als altres, què hem fet i per què [...] en explicar-nos ens proporcionem una identitat, feta de les accions que hem acceptat com a dignes de ser narrades i, per tant, conservades, arrencant-les de la rutina, la inèrcia i l’oblit. Ens reconeixem en el que resta, en el que hem salvat, i que ens salva; i això, aquesta història, és el que som: la suprema ficció, nosaltres mateixos Enric Sullà [Llovet, 1996:71] 2 Introducció Com, a vegades, s’aconsegueix la pau mundial VIVIAN Ves-te’n a l’infern! T’odio! Odio els teus diners! Els odio! Últimes paraules de Vivian a Edward al guió $3000, original de Jonathan Lawton [Lawton, 2011], que es va convertir en la pel·lícula Pretty woman. Quan Alan Ball*1 va voler fer el salt al cinema, es va buscar un nou agent que no el tingués encasellat en el paper de guionista de sitcoms per a la televisió2. Alan Ball era un dels milers de guionistes que intentava obrir-se pas a Hollywood. Cada any es registren a la branca oest de la WGA (Sindicat d’escriptors d’Estats Units) una mitja de 55.000 projectes i guions3. Dels 8.784 associats que comptava del sindicat el 1999, l’any en què es va estrenar la pel·lícula que Ball havia escrit, 1866 guionistes [WGA, 2011:5] van aconseguir algun tipus de feina remunerada en algun dels 200 projectes que cada any pot arribar a moure cada un dels sis grans estudis [Ross, 2010:104]. La majoria de projectes tenen moltes opcions de desaparèixer en alguna fase del desenvolupament o de quedar emmagatzemats durant un temps indeterminat. El 1986, Warner tenia 250 projectes en desenvolupament, però només va estrenar 20 films; Paramount, en va estrenar 13 de 100 projectes; la Fox, 16 de 100 [Stempel, 1988:185]. Aquell 1999, el total de pel·lícules estrenades pels grans estudis de Hollywood va ser de 227 [Bordwell, 2006:235]4. 1 L’ús d’asterisc es refereix als guionistes i pel·lícules que he fet servir de referència en aquest escrit. Per a una explicació més detallada de la selecció i de l’ús d’asteriscs, vegeu la plana 13 i l’apèndix final. 2 La informació sobre el procés de desenvolupament del guió American Beauty es pot trobar a Chumo II, 2000 i a Kazan, 2000. 3 Informació obtinguda a través del correu electrònic. Cal especificar que aquesta xifra inclou guions, però també tractaments, sinopsis i resums escrits tant per radio, tv o cinema. No cal estar associat al sindicat per a registrar un guió. És evident, doncs, que la majoria de guions estan escrits per escriptors no sindicats. També cal dir que no tothom registra els seus guions a la WGA, encara que els fòrums de guionistes ho consideren la manera més aproximada de tenir una xifra: registrar el guió és l’acció recomanada per evitar plagis. Per últim, cal també especificar que aquesta és una dada quantitativa i no pas qualitativa. L’enfocament del meu escrit no ha de fer oblidar que hi ha mals guionistes i mals guions. Detectar la mala qualitat hauria de ser i és en gran part el sentit del sistema de selecció que s’ha instaurat a Hollywood. Aquesta anàlisi que comença dóna això per descomptat i s’endinsa en el sistema de selecció per a estudiar- ne altres efectes i servituds. 4 El número total d’estrenes va ser de 461 pel·lícules, això inclou les pel·lícules fetes per productores independents o comprades a l’estranger per alguna distribuïdora independent [Bordwell, 2006:235]. 3 American Beauty*, pel·lícula dirigida per Sam Mendes a partir del primer guió d’Alan Ball, va ser el gran èxit de la recent estrenada productora Dreamworks5. En el Hollywood actual, tenir agent és condició imprescindible per a què un estudi o una productora independent accedeixi a llegir un guió [Ross, 2010:107]. Alan Ball va contactar amb Andrew Cannava a la United Talent Agency i va exposar-li les tres idees que tenia per a una pel·lícula. El pla consistia en el pla que fan servir la majoria de guionistes que es volen introduir al mercat: escriure un spec. Un spec és un guió original que un escriptor escriu sense cap mena de contracte i que, després, intenta fer arribar a un estudi a través del seu agent. La intenció no sempre és aconseguir produir la pel·lícula, sinó utilitzar el guió com a carta de presentació per aconseguir participar en algun projecte posterior en algun estudi. Akiva Goldsman*, David Koepp* o Peter Farrelly* són guionistes molt reconeguts avui en dia que van aconseguir el seu primer contracte a partir de specs. Les dues primeres idees de Ball eren «comèdies romàntiques estàndard» [Kazan, 2000:27], vehicles perfecte per a la Julia Roberts del moment i que es podien encapsular en una frase o dues; allò que és conegut a la indústria com a idees High concept. Nicholas Kazan assegura que «El noranta per cent d’agents d’aquesta ciutat [Los Angeles] haurien dit, “Escriu la història de la Julia Roberts”» [Kazan, 2000:27]. I és probable que així sigui. El High concept és un concepte que va néixer associat al canvi d’explotació de les pel·lícules a finals dels 70 i que, avui en dia, és el «credo corporatiu modern per a pel·lícules d’entreteniment: històries que poden ser resumides tant a l’estudi com a l’audiència en 30 segons o menys» [Pollock, 2006:18]. La idea és que el concepte principal de la pel·lícula sigui fàcilment comprensible per a poder atreure molta gent a les sales. Terry Rossio* i Ted Elliott*, guionistes de Pirates del carib* i Shrek*** entre altres, ho expliquen de la següent manera: «Si el teu guió no es pot descriure d’una manera concisa que contingui tots els elements interessants, la conversa no anirà bé. Serà una cosa com “Bé, hi ha coses interessants en el guió i... (el discurs de Rossio es fa inaudible)”» [Shewman, 2003:50]. Doncs bé, així és exactament com va sonar la tercera proposta d’Alan Ball, que és la que Cannava va animar-lo a escriure: «Bé, a veure, hi ha 5 DreamWorks va ser el primer estudi creat en anys a Hollywood amb la intenció de convertir-se en un gran, independent de finançament extern (veure capítol 1). Es va fundar el 1994 i va aconseguir èxits com American Beauty, Gladiator, Salvar al soldat Ryan o Shrek. Finalment va haver d’incorporar-se a Viacom el 2005, empresa que també controlava Paramount, però el 2008 Spielberg va exercir una opció de recompra recolzat per la companyia India Reliance [Langford, 2010:196 i 273] 4 un paio, i és molt infeliç, i a la porta del costat n’hi ha un altre... bé, d’acord, abans que tot, hi ha un judici en marxa i tu penses que saps què ha passat, però no és cert i hi ha aquell altre noi amb una càmera de vídeo, que és una mena de monjo Zen o de Budista...» [Kazan, 2000:27]. I és que la història del desenvolupament del guió d’American Beauty és una suma d’excepcions, d’aquelles coses que no passen com acostumen a passar, i que van permetre que el guió de Ball s’anés fent pas sense canvis fins la versió que va ser rodada. «[L’estudi] anava a fer la pel·lícula de la manera en què havia de ser feta», resumeix Alan Ball, «Un guionista dient això és com dir “Voldria que no hi hagués més guerra al món”» [Kazan, 2000:30]. Andrew Cannava es va reunir amb els productors Dank Jinks i Bruce Cohen. Acabaven d’obrir una productora i buscaven allò que es coneix com «Character-driven stories» [Kazan, 2000:28], guions tipus American Beauty, basades en personatges amb una psicologia profunda i que no només desenvolupen una personalitat reactiva als fets que els envolten a partir de l’estereotip que personifiquen. Character-driven no ha de perquè ser incompatible amb High concept, però el boom del mercat independent dels anys 90 entenia que els primers guions eren més adients per a productores independents que per a un gran estudi com DreamWorks, tal com reconeix el productor Bruce Cohen [Kazan, 2000:28]. Els estudis tenien grans pressupostos que gastaven en estrelles i en una desplegament publicitari enorme amb l’objectiu de recaptar grans sumes.
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