Yes: Screenplay and NotesTo have her characters better express ideas which might be abstract or hard to digest, Potter chose to write their dialogue in verse, though such is the narrative drive and the strength of the performances that for much of the time this seems like just more lyrical version of everyday speech. She says of her choice: "I read somewhere that in times of war the sales of poetry books go up. It's as though we need to use our most clear and rich tool, which is the tool of language, to express. |
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Page xii
... character in this way — those in the background of the story and those up front . And this stitching- and - finally ... characters , what is the scene ? The arena of world politics today , nothing less , is the scene - and , above it ...
... character in this way — those in the background of the story and those up front . And this stitching- and - finally ... characters , what is the scene ? The arena of world politics today , nothing less , is the scene - and , above it ...
Page 84
... characters talk about would be hard to say in prose . Much of the film is written in iambic pentameter ( ten syllables a line ) which some say is close to the rhythm of thought or of breathing , and , in English at least , is a very ...
... characters talk about would be hard to say in prose . Much of the film is written in iambic pentameter ( ten syllables a line ) which some say is close to the rhythm of thought or of breathing , and , in English at least , is a very ...
Page 86
... character- driven moment in the story . The auntie , in her dying reverie , is contemplating what she believed in her life . In fact , all the char- acters are trying to figure out what ... characters from two conflict zones in the world ,
... character- driven moment in the story . The auntie , in her dying reverie , is contemplating what she believed in her life . In fact , all the char- acters are trying to figure out what ... characters from two conflict zones in the world ,
Other editions - View all
Yes: Screenplay and Notes Sally Potter,John Berger,Sally Porter,Pankaj Mishra No preview available - 2005 |
Common terms and phrases
Alexei angrily Anthony Arab aunt aunt's auntie Bedroom Beirut Belfast Billy blue camera car park CARLOS characters closes her eyes colour cont'd CREW Cuba cutting room dance Day The cleaner Director door Drawing Room dream dressed Embassy face feel filmmaking FRED FRITH fucking gazes Grace hair hand hear House Joan Allen John Berger Kate kind kisses kitchen Laboratory laughing Licensed courtesy listening lives London looks lover mobile phone never Night Nursing Home Pankaj Mishra pulls Q&A with Sally quietly Sally Potter Sam Neill scene screen screenplay script Sheila Hancock SHIRLEY HENDERSON shoot shouting Silence Simon Abkarian sits smiles softly sound speaks out loud standing stares starts STEPHANIE LEONIDAS story talk Tango Lesson There's things thought turns UK FILM COUNCIL verse Virgil voice walks Whizzer WIL JOHNSON woman words