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Sueños De Una Escritora En Nueva York Screenbox SUEÑOS DE UNA ESCRITORA EN NUEVA YORK SCREENBOX FICHA NÚM. 2.445 T.O.: MY SALINGER YEAR NACIONALIDAD: CANADÁ Estreno Screenbox: 04-06-2.021 DURACIÓN: 101’ Estreno España: 04-06-2.021 AÑO: 2.020 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA lizar las respuestas. Mientras usa la Joanna: Margaret Qualley voz de un gran escritor comenzará Margaret: Sigourney Weaver a descubrir la suya. Don: Douglas Booth Jenny: Seána Kerslake FILMOGRAFÍA DEL DIRECTOR: PHILIPPE FALARDEAU (Hull, FICHA TÉCNICA Canadá, 01-02-1.968) Director: Philippe Falardeau -Sueños de una Escritora en Nueva Guion: Philippe Falardeau, York (2.020) Joanna Smith Rakoff -The Bleeder (2.016) Productores: Luc Déry, -Guibord s'en va-t-en Guerre Kim McCraw (2.015) Música: Martin Léon -La Buena Mentira (2.014) Fotografía: Sara Mishara -Profesor Lazhar (2.011) Montaje: Frédérique Broos, -C'est Pas Moi, Je le Jure! (2.008) Mary Finlay -Congorama (2.006) -La Moitié Gauche du Frigo (2.000) SINOPSIS -Pâté Chinois (1.997) (Documental) Nueva York, años 90. Joanna es una joven que aspira a ser una PREMIOS Y PRESENCIA EN gran escritora que consigue tra- FESTIVALES bajo en una agencia literaria como -Festival de Berlín: Película Inaugu- ayudante de Margaret, la agente ral (2.020) literaria de J.D. Salinger. Entre -Canadian Screen Awards: Premio a otras tareas, Joanna debe res- la Mejor Peluquería (2.021) ponder las numerosas cartas que -Sección Oficial: BCN Film Fest envían los fans de todo el mundo (2.021) al autor de “El Guardián Entre el -Sección Oficial Competencia Inter- Centeno”. Apartándose del proto- nacional: La Roche-sur-Yon Interna- colo, Joanna empieza a persona- tional Film Festival (2.020) ENTREVISTA CON EL DIRECTOR dispersión. También permite el acceso directo a la mente del (extracto) (publicada por decine21.com) protagonista. Convertir un libro en una película generalmente significa tomar decisiones, crear personajes compuestos y Usted ha escrito algunas de sus películas, así como transformar la voz interior en acciones concretas. Al principio, los guiones adaptados de material ajeno. “Sueños de me aventuré tentativamente a inventar escenas; después una Escritora en Nueva York” se basa en las célebres de todo, estaba lidiando con la vida de una persona real y memorias de Joanna Rakoff, y es la primera adaptación quería ser fiel a su experiencia. La ficción tenía que usarse que acomete de un libro importante. ¿Qué atrajo a para transmitir ideas. o sentimientos encontrados en el libro. Philippe Falardeau a esta historia? Rakoff me acompañó en el proceso leyendo varios de mis Estaba echando un vistazo en una librería y tomé en borradores. Recuerdo que me senté con ella en Cambridge mis manos las memorias de Joanna, atraído por el título después del segundo o tercer borrador. A ella le gustó el [“My Salinger Year”, “Mi Año con Salinger”] y el hecho de material de ficción y me animó a ir más allá. Eso es música que estuviera escrito por una mujer. Hasta ese momento para el oído de un escritor y director, por supuesto. Entonces había hecho películas con protagonistas principalmente empezó a suceder algo divertido: cuanto más ficción escribía masculinos; Estaba buscando una idea con un personaje en la historia, más me acercaba al espíritu de su escritura. femenino central. Al leer el libro, encontré la escritura de Joanna también fue de gran ayuda para guiarme con los Joanna conmovedora y divertida hasta en el más mínimo diálogos. El inglés es mi segundo idioma; ella me ayudó a detalle. Me encontraba reflejado con ese momento incierto asegurarme de que el idioma fuera exacto para la época y las en el que tenemos que decidir qué queremos hacer con distintas generaciones. nuestra vida, sin estar completamente seguros del abanico de posibilidades. Un tiempo en el que todo es posible, pero A lo largo de su filmografía, seguimos a personajes todo parece fuera de alcance. que a menudo son ajenos al entorno al que acaban de incorporarse. En “Sueños de una Escritora en Nueva Una cosa es adaptar novelas, pero las memorias están York”, Joanna se lanza al mundo literario y tiene que en otro nivel. ¿Cuál fue su enfoque para respetar el aprender a navegar en él. ¿Cuál considera que es la clave material, y permitirse también cierta libertad creativa de su viaje personal? como cineasta, al partir de una conocida y celebrada Mis películas siempre implican "un encuentro con el otro". historia? Es un reflejo que desarrollé a los 23 años cuando participé El libro no se basa en una historia, ni tampoco la película. en la "Carrera alrededor del mundo" en 1992, un programa Me gusta parafrasear a Joanna y describirlo como "una visita de televisión en Radio-Canadá que suponía el rodaje de 18 con un personaje". Dicho esto, tienes que crear un mínimo cortometrajes en 17 países. Durante ese largo viaje, siempre de tensión e impulso en una película. Inventé momentos y fui el forastero que tenía que hacerse con un lugar. Los eventos como herramientas de mutación entre literatura entornos extranjeros influyeron mucho en mis películas y cine. Parte del desafío cuando adaptas un libro consiste en ese entonces. El libro de Rakoff me permitió, una vez en entender qué es orgánico de cada forma de expresión. más, penetrar en un mundo desconocido para mí. Igual El mundo literario puede abarcar mucho más contenido y que el personaje, que debía navegar por nuevos terrenos, sostener temas con múltiples capas sin dar sensación de profesionalmente pero también en su vida personal. En el centro de su viaje están todos esos fans que le escriben a que entra a formar parte Joanna. ¿Cómo ustedes tres (y el Salinger, deseando desesperadamente conectar con él. Su resto del elenco) desarrollaron estos personajes? trabajo es proteger a Salinger de ellos, pero encuentra una Vi a Margaret Qualley en “Novitiate”. Luego vi el anuncio manera muy personal de hacer su trabajo, y esto la ayudará a de Kenzo que hizo con Spike Jonze y pensé: "guau, ¿es la descubrir quién es ella realmente. misma chica? Te llega y tiene una presencia tan singular". Nos conocimos en Nueva York muy brevemente y le dije que quería La trama explora varias ideas que ofrecen contraste. dar forma al personaje y a la historia con ella. Ya había escrito ¿Cómo usó las yuxtaposiciones de estas ideas en el guión algunas versiones del guión, pero quería hacer el resto con una para construir la narrativa? actriz en mente, y ya no había duda de quién tenía que ser esa El libro es muy rico en la forma en que explora ideas con actriz. Le di el libro de Joanna Rakoff y le dije que debería leerlo múltiples capas: literatura versus negocios, éxito versus y decirme si me había perdido algo que le pareciera importante. privacidad, lo viejo y lo nuevo, novio versus ambición, etc. Ella lo leyó y hablamos extensamente sobre lo que gustaba Fue un desafío incorporar todas estas ideas sin sobrecargar la del libro, de lo que se sentía más cercano. Grandes ideas, pero historia. La forma de hacerlo era centrarse en Joanna, ceñirse también detalles sobre la vida, el amor y las ambiciones de una a su personaje y dejar que los temas surgieran desde el fondo. mujer joven. Reescribí el guión con eso en mente. Uno de los temas que me atrapó fue el eterno debate de "arte versus negocio". Sigourney fue literalmente un regalo de cumpleaños. Volé a Nueva York el día de mi aniversario, y nos conocimos en un salón De hecho, la película retrata el mundo literario como de té cerca de donde ella vive. Para ser honesto, me impactan multifacético y describe el proceso creativo y empresarial de un poco las estrellas, y creo que lo primero que le dije cuando las artes como algo necesario y complementario. entró fue: "Me pierdo mi fiesta sorpresa de cumpleaños esta noche por tu culpa". [Risas] Hablamos en francés y hablamos Pienso que queremos creer que la literatura está de la ciudad, el teatro, los libros, esto y aquello. Sigourney económicamente al alcance de cualquier mano (al menos conoce bastante bien la Nueva York literaria que se describe en comparación con la música, el arte visual de las películas, en el libro. Incluso vive en el mismo vecindario que el personaje etc), pero no es así. El aspecto comercial es muy importante, de la vida real de la jefa. Ella podría interpretarla, sin duda, lo que sorprende un poco a Joanna, especialmente en esa pero también guiarme a través de los muchos matices de ese secuencia en la que su jefa le pide que lea el nuevo manuscrito mundo, siendo yo el forastero, mirando hacia adentro. de Judy Blume. Ella es una gran fan de Judy Blume, por lo que está encantada de estar dentro del proceso. Le encanta el El elenco de secundarios proporciona un marco humano nuevo libro, pero su jefa quiere consejos de marketing, no una muy fuerte a los dos protagonistas. apreciación crítica. Se da cuenta de que su gusto y sensibilidad En general, fui agraciado con un elenco fuerte. Douglas Booth personales pueden ser irrelevantes en este tipo de discusión. y Brian F. O'Byrne dieron algo especial a la película con su trabajo en papeles secundarios, por no mencionar a Théodore En el otro extremo del espectro, Don, el novio socialista de Pellerin, que interpreta al fan de Winston-Salem; este joven Joanna, no bromea cuando dice: “Escribir te convierte en abarca por sí solo el mundo de un fan de Salinger con su escritor. Publicar es comercio ".
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