영문 The SANDMAN 범죄자 대범 죄자 영화 대사
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- 2015.06.27 / 2015.06.27
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추천 연관자료
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Many people have asked me what happened with Sandman, and to date Ive kept mum. But theres so much misinformation and rumor out there that I feel its now time to tell my side of the story:
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.
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