adaptation, adapting for film, Anthony Shaffer, Arthur Miller, August Wilson, Black History Month, Black writers, Bob Fosse, Cabaret, David Mamet, Death Proof, Denzel Washington, Dorothy Parker, Fences, For Colored Girls Who have Considered Suicide / When the Rainbow is Enuf, Girl 6, Harold Pinter, In For a Penny, Inside the Actor's Studio, James Lipton, Jean-Paul Sartre, John Logan, Lillian Hellman, Lynn Nottage, Norman Jewison, playwrights, Quentin Tarantino, San Francisco Theater Pub, SF Theater Pub, Sleuth, Spike Lee, Stephen Sondheim, Suzan-Lori Parks, Sweeney Todd, The Crucible, The Object of My Affection, The Winslow Boy, Tim Burton, Tom Hanks, Tony Kushner, Tyler Perry, Viola Davis, Wendy Wasserstein, women writers
In which I use Tony Kushner’s adaptation of August Wilson’s Fences to discuss playwrights adapting other playwrights for film.
Charles Lewis III, with thoughts on writing and voice.
“I have to confess that I’m not a big movie person; I don’t go to a lot of films and I don’t know very much about the history of stage-to-film adaptations. [..] The way I see it, the stage tells the story for the ear, and the screen for the eye.”
– August Wilson, 2002 interview with John C. Tibbets for Hallmark
I recall Tom Hanks appearing on Inside the Actor’s Studio many, many moons ago and giving a pretty good Q&A with the students gathered. When one asked what it’s like to work in so many different mediums, his response was something akin to “Film is a director’s medium, television is a producer’s medium, the stage is the actor’s medium.” As I write this, I’m having a hard time finding a clip…
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