Word: scripts
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Dates: during 1970-1979
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...times a very deliberate reflection of Didion's own reactions to the years she describes. Her first essay, "The White Album," breaks into 15 vignettes; she cuts from image to image, splicing and assembling them. She views the '60s themselves as a series of improvisations on a discarded script, in a passage that reflects the tone of both the era and her book...
WATCHING PETER SELLARS' Much Ado About Nothing is like walking across a room blindfolded--it's easy if you're well acquainted with the terrain but painful and confusing if you're not. Sellars has assaulted Shakespeare's script with the aid of a talented but small troupe, and of the author's carefully pointed satires and balanced symmetries he has left only fuzzy outlines...
...Sellars has brutally mashed Much Ado About Nothing's script to fit the limits of his acting company and his own self-indulgent desire to buck conventionality. His innovations in staging are often clever and amusing, like his use of several mannequins to fill various roles for which he lacked actors; but the merging of more important roles, the cutting and chopping of important scenes, and the self-consciousness of each departure from Shakespeare unnerve the audience and often make the play's plot incomprehensible. Sellars might just as well have bounded on stage, done a headstand, cried "look...
...cadaver should ever endure what Sellars does to the Dogberry/Verges scenes--his chopping reduces them from a major element of the play's structure to mere comic relief. It's tempting to look at them that way, of course, and in the uncut script their scenes do go on forever. But as with all of Shakespeare's plot problems that tempt foolhardy directors to cut and re-order, this one had a point...
Richard Tuggle, a first-tune screen writer, has based his script on the real-life exploits of Frank Morris, a convict who fled Alcatraz with two buddies in 1962 and was never heard from again...