SEEING DOUBLE: THE PROCESS OF SCRIPT ADAPTATION BETWEEN THEATRE AND FILM BY GAVIN RODNEY MCGIBBON A thesis submitted to the Victoria University of Wellington and the International Institute of Modern Letters in fulfilment of the requirements for the degree of Doctor of Philosophy (2014) Faculty of Graduate Research March 2014 1 Abstract This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre. The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film. The thesis concludes with discussion of the decisions I made when adapting my own scripts. This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium. This thesis also proposes a set of adaptation principles for script adaptors. 2 Acknowledgements This would have been impossible without the incredible efforts, generosity and guidance from some key people. Ken Duncum, who continues to inspire and push me as a writer. The impact you have had on my life and not just this thesis, cannot be measured. Thank you so much for your guidance, wisdom, overwhelming generosity and patience. I’d never have believed that one person could (and continues to) teach me so much about what I love to do - writing. You are a master of your craft Ken and a shining example to all writers. I feel blessed and privileged to have you in my corner, I’d never have got this far without your selflessness and kindness. David O’Donnell, you have been a crucial part of this thesis coming to be, you brought so much to our discussions and the ultimate shape of the thesis. Thank you so much for your expertise and for constantly pushing me to see the bigger picture. It was a very long road and I’m so glad you were up for it. Argelia Munoz Larroa, I feel deeply blessed to have found you and to give my heart to, I love you. Tara McGibbon and Barbara Burke, thank you both so much for reading my work and your feedback and suggestions for it. Everyone involved with staging Hamlet Dies at the End, especially LJ and David. An extra special thanks to Victoria University for awarding me two scholarships, which made all the difference and allowed me to give my work the focus and dedication it needed. Katie Hardwick-Smith and Clare Moleta (you two are amazing, always smiling and always incredibly helpful), Bats Theatre, Sean Redmond, Brady Hammond, Adam Macaulay (for 3 some particularly useful feedback about the play), Alex Greig, Murray Lynch, Bill Manhire, Damien Wilkins, everyone in the PhD workshop at Modern Letters over the years, Marion Kirker, Harry a.k.a Chuckles, Mum, Dad and Brandon. 4 TABLE OF CONTENTS Abstract -------------------------------------------------------------------------------------------------------------------- 2 Acknowledgements ----------------------------------------------------------------------------------------------------- 3 INTRODUCTION ---------------------------------------------------------------------------------------------------------- 7 PART 1: LITERATURE REVIEW---------------------------------------------------------------------------------------- 14 Introduction ------------------------------------------------------------------------------------------------------- 15 Narrative Form --------------------------------------------------------------------------------------------------- 18 Character ---------------------------------------------------------------------------------------------------------- 25 Dialogue ------------------------------------------------------------------------------------------------------------ 26 Audience ----------------------------------------------------------------------------------------------------------- 27 Conclusion --------------------------------------------------------------------------------------------------------- 29 PART 2: ANALYSIS ------------------------------------------------------------------------------------------------------ 30 2.1 STAGE TO FILM ------------------------------------------------------------------------------------------------- 31 Transposition ----------------------------------------------------------------------------------------------------- 33 The Shape of Things: A Loss of Emotional Impact ---------------------------------------------------- 33 Doubt: Paying Lip Service to Adaptation --------------------------------------------------------------- 40 The History Boys: The Need for a Clear Point of View----------------------------------------------- 46 Transformation --------------------------------------------------------------------------------------------------- 54 Glengarry Glen Ross: A Reflective Approach ---------------------------------------------------------- 54 Frost/Nixon: Challenging the Rules and Breaking Free --------------------------------------------- 59 Good: Clash of Mediums ----------------------------------------------------------------------------------- 64 Analogy ------------------------------------------------------------------------------------------------------------- 69 Lantana: A Lesson in Simplicity --------------------------------------------------------------------------- 69 Conclusion --------------------------------------------------------------------------------------------------------- 77 2.2 FILM TO STAGE ------------------------------------------------------------------------------------------------- 80 Rain Man: Being There – or Not ----------------------------------------------------------------------------- 82 Calendar Girls: Moments That Resonate ------------------------------------------------------------------ 88 The Graduate: Innovation and Restraint ------------------------------------------------------------------- 94 Misery: A Story in a Box ---------------------------------------------------------------------------------------- 99 Conclusion ------------------------------------------------------------------------------------------------------- 103 PART 3: SCRIPT ADAPTATIONS ------------------------------------------------------------------------------------ 106 5 3.1 STAGE PLAY: HAMLET DIES AT THE END ---------------------------------------------------------------- 107 3.2 SCREENPLAY: SONG’S END (Restricted content) ------------------------------------------------------ 212 PART 4: REFLECTION ------------------------------------------------------------------------------------------------- 213 4.1 ADAPTING HAMLET DIES AT THE END INTO SONG’S END ------------------------------------------ 215 4.2 ADAPTING ROY JIMINTON FIRST INTO ROY, THEN INTO THIS TOWN THAT ROY LIVES IN - 226 APPENDICES ----------------------------------------------------------------------------------------------------------- 235 Appendix A1: Excerpt from Roy Jiminton film script: Therapy Scene ---------------------------- 236 Appendix A2: Excerpt from Roy play script (transformation adaptation): Therapy Scene -- 240 Appendix B1: Excerpt from Roy Jiminton film script: Opening Scenes --------------------------- 250 Appendix B2: Excerpt from Roy play script (transformation adaptation): Opening Scene - 255 Appendix B3: Excerpt from This Town That Roy Lives In play script (analogy adaptation): Opening Scene-------------------------------------------------------------------------------------------------- 262 Appendix C1: Excerpt from Roy Jiminton film script: Stealing The Cow sequence ------------ 270 Appendix C2:Excerpt from Roy play script (transformation adaptation): Stealing The Cow Scene --------------------------------------------------------------------------------------------------------------------- 274 Appendix D1: Excerpt from Roy Jiminton film script: Eulogy Scene ------------------------------- 288 Appendix D2: Excerpt from This Town That Roy Lives In play script (analogy adaptation): Bird Henry Scene ----------------------------------------------------------------------------------------------------- 290 Appendix E: Excerpt from This Town That Roy Lives In play script (analogy adaptation): Dream Sequence ----------------------------------------------------------------------------------------------- 294 Appendix F1: Excerpt from Roy play script (transformation adaptation): Patti’s Story ------ 304 Appendix F2: Excerpt from This Town That Roy Lives In play script (analogy adaptation): Patti’s Story ----------------------------------------------------------------------------------------------------- 307 CONCLUSION ---------------------------------------------------------------------------------------------------------- 310 REFERENCES ----------------------------------------------------------------------------------------------------------- 317 6 INTRODUCTION As a working practitioner, I was commissioned in 2007 by Radio New Zealand to adapt a my stage play, Stand Up Love, into a radio play. This was both an enlightening and challenging experience