Sound Bite: Mike Newell – book to film
I think the biggest challenge was that the, the novel because he has a, to start with he’s a great great writer and his sensibility is one of a kind, there isn’t anybody else like him but his sensibility is is shaped by a culture that is completely different from mine uhm and yet I found when I first read the book and when I then re-read the book for the movie I found that it told me all sorts of things that were human truths that I, I believed in my head but I also very strongly felt in my heart and I could for instance see my parents marriage in chunks of this book and the biggest challenge actually was getting to that that sensibility and you only have the English language to work with but of course you do have the frame, you have got the pictures and what we tired to do uh uh wonderful cameraman and a great uh I admired the designer we tried to use the book as a kind of blueprint for every scene and uhm every frame so that there would be in any shot there would be a little bit of the the book which of course at the end of a film of I don’t know two and a half thousand three thousand shots that’s that starts to add up.
Sound Bite: Mike Newell – collaboration with novel writer
We talked with the writer at the very beginning and Scott Steindorff the Producer uhm talked with him of course when he was acquiring the rights which was a long and difficult process but he then uh he read the first draft and the first draft was written in fact before I came on the film uhm and uh he was the the notes were really good, he gave us about 6 or 8 notes. And the greatest of all of them he said its all very good and well done but where is my stitch work and by stitch work what he meant was the way that he had created a very complicated uh and highly embroidered quilting of surfaces on surfaces on surfaces meaning on top meaning on top of meaning, character on character uhm and that is indeed how the book works, its its extraordinarily dense and rich uhm and so again we had to find out how to uh how to do that and frankly if i had done nothing other than simply try to satisfy that request I would have done enough. Uhm I talked to him a couple of times when I had uhm specific points of detail that I I needed uhm but I didn’t talk to him a lot and in a way quite deliberately certainly I was relieved not to at least I didn’t have the old man on my shoulder I had the book that was enough. But I didn’t have uh Marquez with whatever attitude and I felt freer for for not having him and wonderfully enough when he saw the movie bout 4 or 5 weeks ago he simply turned to the producer at the end of the screening and went, like that and uh so we got him and that’s great. Uh but I think that if I had been, if I’d felt that I was sort of working for Marquez I wouldn’t have had the freedom to do anything with it, I would have felt constricted all the time.
Description: HRN-1562 Love in the Time of Cholera Mike Newell
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