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| Filename |
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DS_JN_au10.mov |
| Description |
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Question: What is an appropriate metaphor, I mean, how do you come to find something that will speak to an audience of a particular period? Answer: No idea. No idea. It would be pretentious of me [laughs] to have anyÕ?but all I can do is what I do, which is to fly by the seat of my pants in the hope that what one does is relevant to a contemporary audience, helps them in some way to find a vision for something. It can beÕ? rather off-putting if it'sÕ?you know, it's all very well and fun to have a film like Shakespeare in Love and everyone's running around in doublet and hose an everything, but on stage, if it, it can be a bit off-putting, you know, that's why Mel Brooks can make things like, you know, Robin Hood Men in Tights as a kind of great gag, because contemporary man in tights whether it's to do with the ballet, or whatever it is, it just doesn't work most of the time, it just somehow becomes risible. So finding a balance between contemporary clothes, period clothes, suggestive clothes, has always been a great, great sort of challenge for doing contemporary Shakespeare. the best set of costumes I ever did for a Shakespeare production was for the Merry Wives of Windsor in Stratford, which was with a fantastic company. I mean, Ben KingsleyÕ? oh, what's his name, Tim, Timmy Spall Õ? it was his first job out of drama school. David Threlfall, I mean the list of people in that production just goes on and on. Was Judi in it? I think Judi was in it. It was a wonderful, wonderful cast. Bob Peck. A fantastic cast. And I sort of contemporised them, but they were Elizabethan, but they were sort of fur coats and sort of Elizabethan, I mean very Windsor, you know, very sort of South-WestÕ? and... that was, they were kind of inventions of period and contemporary, which was probably the most successful that I've ever done. [Long pause]. To be honest with you, I don't have a formula for it, I don't have any kind of, I love going to the theatre and being completely surprised, but also not just surprised, absolutely illuminated, you know, another facet, another view through the prism. I don't think there is a definitive way of doing it. I would just choose not to do it, as it were, in a way that we think they did it. I think it's much, much better to do what you believe in. |
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DS_16_05_02 (2xmini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
| Rights |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
| Length |
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4 minutes 05.13 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.