【幕后】 David O. Selznick吐槽记录
Memo from David O. Selznick : The Creation of "Gone with the Wind" and Other Motion Picture Classics, as Revealed in the Producer's Private Letters, Telegrams, Memorandums, and Autobiographical Remarks
网上有不少摘录可看,这是其中一小段,在电影The Garden of Allah拍摄期间DOS写给导演的,内容是关于影片女主角Marlene Dietrich的
To: Mr. Richard Boleslawski
April 14, 1936
I told [Marlene Dietrich] that my one other worry was about her performance – that she had demonstrated to the world that she was a beautiful woman, but that she had failed to demonstrate to the world, undoubtedly through lack of opportunity, that she was an emotional actress; that she had demonstrated very nicely in Desire that she was capable of an excellent comedy performance, but she had yet to make audiences cry. She said she had been wanting to prove this for years and certainly was anxious to make the attempt to show her stuff in this respect. I told her also, frankly, that I thought she worried most unnecessarily about her camera angles – that she was not Helen Hayes or Norma Shearer who had to worry about their faces, and that from any angle, it was impossible for her to be photographed as anything but beautiful and for God’s sake and her own, she should forget about camera angles when it came to the playing of an emotional scene. She agreed with this also. Maybe I am just naive!
However, here again, I think you should go right ahead as though you were directing some newcomer, and not worry about any legend of Dietrich difficulties.
To: Mr. Richard Boleslawski
June 17, 1936
Would you please speak to Marlene about the fact that her hair is getting so much attention, and is being coiffed to such a degree that all reality is lost. Her hair is so well placed that at all times – when the wind is blowing, for instance – or when Marlene is on a balcony or walking through the streets – it remains perfectly smooth and unruffled; in fact, is so well placed that it could be nothing but a wig. The extreme in ridiculousness is the scene in bed. No woman in the world has ever had her hair appear as Marlene’s does in this scene, and the entire scene becomes practically unusable because everything is so exatly in place that the whole effect of a harassed and troubled woman is lost … Surely a little reality can’t do a great beauty any harm.
网上有不少摘录可看,这是其中一小段,在电影The Garden of Allah拍摄期间DOS写给导演的,内容是关于影片女主角Marlene Dietrich的
To: Mr. Richard Boleslawski
April 14, 1936
I told [Marlene Dietrich] that my one other worry was about her performance – that she had demonstrated to the world that she was a beautiful woman, but that she had failed to demonstrate to the world, undoubtedly through lack of opportunity, that she was an emotional actress; that she had demonstrated very nicely in Desire that she was capable of an excellent comedy performance, but she had yet to make audiences cry. She said she had been wanting to prove this for years and certainly was anxious to make the attempt to show her stuff in this respect. I told her also, frankly, that I thought she worried most unnecessarily about her camera angles – that she was not Helen Hayes or Norma Shearer who had to worry about their faces, and that from any angle, it was impossible for her to be photographed as anything but beautiful and for God’s sake and her own, she should forget about camera angles when it came to the playing of an emotional scene. She agreed with this also. Maybe I am just naive!
However, here again, I think you should go right ahead as though you were directing some newcomer, and not worry about any legend of Dietrich difficulties.
To: Mr. Richard Boleslawski
June 17, 1936
Would you please speak to Marlene about the fact that her hair is getting so much attention, and is being coiffed to such a degree that all reality is lost. Her hair is so well placed that at all times – when the wind is blowing, for instance – or when Marlene is on a balcony or walking through the streets – it remains perfectly smooth and unruffled; in fact, is so well placed that it could be nothing but a wig. The extreme in ridiculousness is the scene in bed. No woman in the world has ever had her hair appear as Marlene’s does in this scene, and the entire scene becomes practically unusable because everything is so exatly in place that the whole effect of a harassed and troubled woman is lost … Surely a little reality can’t do a great beauty any harm.
it was impossible for her to be photographed as anything but beautiful and for God’s sake and her own, she should forget about camera angles when it came to the playing of an emotional scene. She agreed with this also. Maybe I am just naive!
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