In case you hadn’t noticed, the Shakespeare spring kicks off tonight. First up is a cluster of programmes on Sky Arts – a goodly number of them, including Being Shakespeare, produced by Illuminations. Then there is the big BBC season Shakespeare Unlocked, which is online and on air right through to July. We are making our own contribution to this, of course, with our BBC Four film of the RSC’s new Julius Caesar. And the director of the play and film, Gregory Doran, who is also the RSC’s new Artistic Director, was on Radio 4’s Midweek talking about this and more. Plus Julius Caesar is itself part of the World Shakespeare Festival, which offers a cornucopia of delights through the summer. Not to mention (because I can’t yet – but can on Monday – our Shakespeare’s Sonnets project.) So it feels like the time for a Shakespeare miscellany: something from Greg first, then the Sky transmissions, a trailer for the BBC season and lots of other links. read more »
There’s something slightly unreal about these final couple of days before we start work at the location for Julius Caesar. If all goes well, cleaning and prepping the site starts tomorrow, and then the art department will get going on Monday. A week later, on the morning of 23 April, we’ll be shooting the first scene. Lots of people are in the middle of lots of preparatory work, but at the same time there’s still some crucial paperwork to complete. To get through the final negotiations on that, the only thing to do is to keep calm and carry on. As Brutus says to the assembled and angry populace, ‘Be patient till the last.’ I thought therefore that it might be a good time for a little history. So, class, if you could open up your copies of James Shapiro’s1599: A Year in the Life of William Shakespeare, we’ll begin. read more »
The past couple of months have seen the appearance of two comparatively slender – and in some ways, strikingly similar – volumes of belle-lettrist writing about cinema. Each is written by a figure with a literary reputation and each tackles just a single film from the canon of high modernism. In Zona Geoff Dyer takes on Andrei Tarkovsky’s Stalker (1979), while Adam Mars-Jones’ Noriko Smiling considers Yasujiro Ozu’s Late Spring (1949). I’m going to leave the pleasures of Zona for another time, and muse today on Noriko Smiling, a book that I really wanted to like. I admire Ozu’s films (although I’m no expert), I invariably enjoy attempts to find new ways of writing about art cinema, and when I first picked up Noriko Smiling I delighted in its elegant design and satisfying binding (the publishers are Notting Hill Editions). Having now read the book, however, I think it is a bit pointless and a bit thoughtless, by the end a bit insightful but too often more than a bit irritating. read more »
The detail above from the sheet music for Cole Porter’s 1949 Kiss Me Kate comes from a rich online (and real world) exhibition (until 4 June) at Yale University’s Beinicke Library. Remembering Shakespeare details ‘the process of remembering that has allowed Shakespeare to be transformed from one of a number of talented writers for an emerging entertainment industry in Elizabethan England into the best-known and most highly valued author in the history of the world.’ The exhibits at Yale are mostly printed books and illustrations of various kinds, and as such are perfect for reproduction on the web. So the online offering feels like a genuine complement – and not just a second-order, and as a consequence inferior, experience. read more »
Let’s start a new week’s links with a terrific post at The Bioscope, And the ship sails on. Just what was filmed of the Titanic, Urbanora asks, and what survives today? Precious little, it turns out, since the only genuine extant shots are the ones of the ship in Belfast that open the newsreel below (shot by Gaumont but is now controlled by British Pathé).
What does the extant film of the Titanic signify? Of itself, it has little to say. It is not very interesting film of a big ship. It evokes no sense of loss, greatness, vaingloriousness, hubris or tragedy. We bring those feelings to the film, once we are told what it signifies. We invest our feelings in what we see on the screen. Yet there is that special frisson when we see the footage and realise that what is now history was once actuality. A connection is made that is part of the unique power of film, collapsing time while simultaneously making us aware of the yawning gap of time.
Beyond the break you’ll find more links to great stuff – to which I’ll add during the coming week. Already featured are discussions of John Berger and Beyoncé, Hamlet and The Hunger Games, plus the most astonishing dance film you’ll see all week (the lobby card above is a clue).
The morning of Good Friday. Two weeks and three days before we begin filming Julius Caesar. In just ten days we start work at our location, cleaning, building sets – and driving away pigeons. We are a significantly bigger crew now than we were a week ago, but it’s still a holiday for most. The panic has yet to kick in. At the RSC rehearsal rooms in south London, director Greg Doran has scheduled a session for, first, an exploration of Act V Scene 3 (the death of Cassius), and then some time working alone with Ray Fearon on his role of Mark Antony. Along with the stage management team, I sit at a table at one end of the large room. In the centre is a circle of six chairs, and around are the spindly lines of coloured tape that mark out the dimensions of the stage and the set. read more »
Monday morning, three weeks before the start of principal photography on Julius Caesar. Six of the crew meet in bright sunshine outside a Northern Line station. We have come to recce the location which is a ten-minute walk away. There are pavement introductions, the first stage in a process that is fascinating and – if we’ve made even one or two great choices – rewarding. A team of around thirty forms for a brief, intensive period of production. At the wrap they scatter, perhaps to work together in the future, perhaps never to meet again. This morning there is subdued excitement, a sense of potential and perhaps a trace of nerves (those are mine). The walk allows us to talk about jobs just finished and acquaintances from other shoots. Then we are at the chain-link gate behind which is our modern-day ‘Rome’. read more »
Monday morning, five days ago. Just after ten o’clock on the top floor of the Royal Shakespeare Company’s south London rehearsal rooms the cast and creatives of Julius Caesar meet for the first time. Our chairs are set in a circle that just about squeezes into the space. Director Gregory Doran, the newly announced Artistic Director-designate of the RSC, introduces first the post’s incumbent, Michael Boyd. Michael expresses his pleasure that Greg (as he’ll be from now on in these blogs) is taking over from him. He talks also about the excitement and ambition of the World Shakespeare Festival, of which Julius Caesar is a central component. The stage version opens in Stratford-upon-Avon at the end of May, but when Greg introduces me, I remind him and everyone that exactly four weeks from now we will have turned over on principal photography for the film version. Four weeks. That’s, er, just twenty-eight days. read more »
I enjoyed across last week adding links to the previous post, and I’m going to repeat the experiment this week. But I am going to do away with the headings and include the new links at the top of the post each day, so that if you return you do not have to search to find the new stuff. Included here as I find them are things that interest me in the areas that are of concern to Illuminations: film and media, the development of television, contemporary performance and theatre history, visual arts and culture in general. [Latest updating: Friday at 23.30.]