Mr. Japan goes to Tinseltown: A study of the film business between the United States and Japan or, How Japan learned to stop making films and love Hollywood. - Page 187 |
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tendency to make their productions look like televised stage plays, and I
wanted...m ore than that."20
Greenaway rang Gielgud up out of blue one day and asked him to
play Virgil for his A TV Dante (1988), "an extraordinary re-imaging of
Dante's Inferno, w hich incorporates compartm entalized im ages and state-of-
the-art videos."21 G ielgud w illingly accepted the offer since the actor
had admired Greenaway's The Draughtsman's Contract (1982) so much
that he once w ished he could ask the director about his dream of a film
adaptation of The Tem pest.22 On the second day of the production of A
TV Dante, w hile G ielgud w as having lunch w ith Greenaway, the actor
told the director that he had alw ays wanted to make a film of The
Tem pest. About six w eeks later, Greenaway sent G ielgud his draft of the
screenplay, very detailed and evocative, w hich seem ed m arvelous to the
actor.23
A TV Dante brought forth Prospero's Books in another w ay as well:
this w as Greenaway's first experience in television production with
Quantel Paintbox, w hich m ade the film production possible. Quantel
Paintbox is a digital high-resolution optical effects and editing package. It
functions as a com puterized electric palette, on w hich each 1 /3 0 second
frame of v id eo is drawn as one picture. Each picture frame of the
Paintbox has 1,904,400 pixels (tiny dots), and the operator can manipulate
20 Gritten, Los A ngeles Times 27 Novem ber 1991: F6.
21 Gritten, Los A ngeles Times 27 Novem ber 1991: F6.
22 "John G ielgud Talks about Prospero's Books," Prospero's Books: Cinema Rise N o. 37
N . pag.
23 "John G ielgud on Prospero's Books," Prospero's Books Production N ote 13.
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| Title | Mr. Japan goes to Tinseltown: A study of the film business between the United States and Japan or, How Japan learned to stop making films and love Hollywood. - Page 187 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | tendency to make their productions look like televised stage plays, and I wanted...m ore than that."20 Greenaway rang Gielgud up out of blue one day and asked him to play Virgil for his A TV Dante (1988), "an extraordinary re-imaging of Dante's Inferno, w hich incorporates compartm entalized im ages and state-of- the-art videos."21 G ielgud w illingly accepted the offer since the actor had admired Greenaway's The Draughtsman's Contract (1982) so much that he once w ished he could ask the director about his dream of a film adaptation of The Tem pest.22 On the second day of the production of A TV Dante, w hile G ielgud w as having lunch w ith Greenaway, the actor told the director that he had alw ays wanted to make a film of The Tem pest. About six w eeks later, Greenaway sent G ielgud his draft of the screenplay, very detailed and evocative, w hich seem ed m arvelous to the actor.23 A TV Dante brought forth Prospero's Books in another w ay as well: this w as Greenaway's first experience in television production with Quantel Paintbox, w hich m ade the film production possible. Quantel Paintbox is a digital high-resolution optical effects and editing package. It functions as a com puterized electric palette, on w hich each 1 /3 0 second frame of v id eo is drawn as one picture. Each picture frame of the Paintbox has 1,904,400 pixels (tiny dots), and the operator can manipulate 20 Gritten, Los A ngeles Times 27 Novem ber 1991: F6. 21 Gritten, Los A ngeles Times 27 Novem ber 1991: F6. 22 "John G ielgud Talks about Prospero's Books," Prospero's Books: Cinema Rise N o. 37 N . pag. 23 "John G ielgud on Prospero's Books," Prospero's Books Production N ote 13. |
