Getting Lear: How To Show And Not Tell

"All documentaries must invoke, as best they can, the spirit rather than the letter of the truth - and they are exciting because of this. A documentary's authenticity ultimately lies in its organizing vision rather than any mechanical fidelity to life." - Michael Rabiger



Thursday, July 31, 2008

How to make a doc (P.6)

The reshooting of the second Lear scene was a pivotal event in the making of the doc.

This was the first time we approached the material with both a deeper understanding of the text, and a better understanding of how this scene related to what we wanted to accomplish with the entire film.

It raised the bar and tightened our focus.

Here is the e-mail I sent Stu right before the shoot:


Stu,

I would like to drive (with you) over to the location, so I can film (and interview you) on the way.

I think I mentioned this before, and if not, I will mention it here; I envision this version of the Lear/Goneril scene to be an exercise in restrained rage. Instead of loud, I see you, instead, exploding with a raspy whisper -- in close (uncomfortably close) -- to Goneril's face.

The scene will begin with Goneril coming down the stairs to berate you, and she will stop mid way, and you will be at the bottom of the staircase. As the scene progresses, and your rage increases, you will walk up the stairs. What I am going for here is a visualization of who is in control (first Goneril, and then Lear).

Since this is a two camera shoot, I want to get the rehearsal footage also, and any conversations you and Peg might have to better understand this scene. So, from the car ride to "cut" you are in a documentary!

Also, let's not be shy about what we are doing here when you discuss this on camera, we are cutting out the Fool. And we are not doing this because we don't like Ben; we are doing this to tighten our focus on Lear and Goneril. Maybe mention Nahum Tate's 1681 redaction of a Fool-less Lear. Worth mentioning.

In the finished film, I want to show both versions of this scene, or at least some of the old, some of the table read version, and all of the new.

Lastly, let's start thinking about getting Marion sometime in December. Maybe a scrabble game with the Trubys, Omans... Let's talk about this after we finish on Saturday.

There is a very organic connection to aging within this group of actors (you w/ Marion, Peg and her dad, Adrian and his mother, and I believe Ben mentioned that he was in a care-giving role with his mother. I would like to get footage of all of these relationships if possible.

Talk to you soon.

Chris

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