Create New His soul is as turbulent as the sea. A titan straddling good and evil, serving no master but his own considerable desires.
She had sole discretion with the early script, and eventually wrote approximately ten drafts. I felt, 'If it's not broken, don't fix it. But then I read the script and I was surprised I was very moved by it". It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other people The director purposely did not watch the other productionsboth out of fear he would inadvertently steal ideas and because he wanted to be as original as possible.
I don't believe people spoke like that then; it's not natural. So I felt that the Bennet family's conversations would be overlapping like that.
She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline. Main characters of Pride and Prejudice Wright found casting of the film to be difficult because he was very particular about "the types of people [he] wanted to work with".
She's a fully rounded and very much loved character. Webster found the casting of Darcy especially hard due to the character's iconic status and because "Colin Firth cast a very long shadow" as the Darcy.
I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy. Jane has a real interior world, she has her heart broken.
But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters. Please come and be a bitch for me.
She and Wright approached his film "as a difficult thing to tackle" because of their desire to distinguish it from the television adaptation. Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corsetednatural waistline rather than an empire silhouette which became popular after the s.
One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way.
I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two.
He stays in that rigid form for the first part of the film. By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone.
The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards.
It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say? He thus used "Austen's prose [to give him] many visual references for the people in the story", including using close-up shots of various characters. For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture ; in the book, this scene takes place inside a parsonage.
In the film, his second proposal occurs on the misty moors as dawn breaks;   in the book, he and Elizabeth are walking down a country lane in broad daylight.
Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment.
Because "nothing exists in the United Kingdom that is untouched by the twenty-first century", many of the sites required substantial work to make them suitable for filming.
Double Negative also developed the typeface used for the film's title sequence. Chatsworth and Wilton House in Salisbury stood in for Pemberley.The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs.
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The idea that a work of art can just BE, is an appealing one. That somehow whatever the age, background, education, religion or class of the viewer, all that could ever be said about the work would be self evident in the very thing itself, borne free through the ether from the material self of the work to the mind of the viewer who apprehends it in ‘wonder’.