분야
hwp Its simple. I was at Warner Brothers one day in 1996 chatting it up with Lorenzo DiBonaventura (aint that a mouthful). Good ol Lorenzo decided to whip through a bunch of titles that they had in development, curious to know whether I was interested in directing any of them. "Ill just rattle off some titles and you tell me what jumps out at you..."
"Okay", I thought, "this is seeming like a perfect studio meeting. Rattle away."
He started firing off names and I simply responded with "Sure, that sounds good. Hmmm, that might be a fun read. Nah, thats not for me. Oooo, I like the sound of that". His finger descended down the list, and then he came to one which made my head turn."
"The Sandman."
"Jesus God, yes. Yes!" I proceeded to rant about the themes of Sandman and how it had effected me so deeply. He proceeded to tell me that they had a script that they hated, and didnt want to hand out.
I begged him to read it, so he slipped me a copy.
I called him back as soon as I had read it. It was an okay written script, that had executed one stroke-of-genius idea really well. The idea to integrate the best elements of the Sandman series of comic books. It had been written by Ted Elliot and Terry Rossio, the writers of "Aladdin" and "Puppetmaster" and, as of this writing, "The Mask of Zorro". They had been paid a kings ransom and had delivered what was widely considered, by the WB studio folks, to be a bad script. But I felt that while it wasnt 100% there it was at least written by someone who loved Gaimans work and had done him the honor of attempting to stay faithful to his original material. I eagerly told Lorenzo that I felt this script simply needed some tailoring and the application of a directors vision -- I also told him that I would be delighted to work with the writers to execute another rewrite of this draft.
I subsequently spent the next year overseeing Ted and Terry, and reworking the writing to accommodate my directorial vision. They had already distilled the entire series of comics down to 120 pages (a near impossible task) and they just needed some continued focus to score a goal. I kept the basic structure that they had created, but refined some of their more Hollywood-ish ideas. Ted and Terry are incredibly gifted writers, but what the script really needed was a directors vision. I tinkered with almost every scene to reflect exactly what the film would look like.
I incorporated a concept that would ultimately result in my leaving the project over creative issues with Jon Peters. The concept was the rough filmmaking style of Czechoslovakian animator Jan Svankmajer.
Despite the fact that I had shown a very enthusiastic Lorenzo DiBonaventura (big cheese at Warners, and a genuinely cool guy) my references (Svankmajers "Alice" and Polanskis "Rosemarys Baby"), everyone at the studio feigned ignorance when Jon Peters nixed my vision. It was like I had crawled out on this creative limb and when I looked around all of my supporters were gone and Jon-fucking-Peters was sawing the branch off.
- 오늘 본 자료가 없습니다.
- 프로페셔널의 조건 - 단순한 직업 지침서를 넘어 삶의 방향과 가치관을 제시하는 철학 서적(A+독후감)
- 채식주의자 - 잔혹함 속에서 피어나는 아름다움과 희망, 우리 삶에 깊은 메시지를 전하는 감동적인 소설(A+독후감)
- 오베라는 남자(프레드릭 배크만) - 삶의 의미, 소통의 중요성, 인간관계, 용기, 희망 등에 대한 메시지를 전달하며, 우리 삶에 큰 영감을 주는 책(+A독후감)
- `어떻게 원하는 것을 얻는가 - 협상의 기본 원칙과 실용적인 전략을 제시하며, 성공적인 협상을 위한 필수 가이드 (독후감A+)
- 프레임 - 우리가 세상을 바라보는 방식에 대한 새로운 시각을 제시하는 흥미롭고 유익한 책(최인철, A+독후감)
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