Monday, November 17, 2008

Week Fourteen Q&A

Murphy, Me and You…: 25-45


1. What does Flo Liebowitz mean by “dialogue as behavior”?
Liebowitz is implying that the physicality of talking is sometimes more important than the actual dialogue a character is speaking. She discusses how it is possible to learn more from how and when a character talks than what they are talking about.

2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
Connections between Stranger than Paradise and New American Cinema include elements of unpredictability in the narrative (in Shadows, this is due to improvisation, in Paradise, they are due to character ambivalence), an openness in motivation and a lack of constraining character traits. Finally it is suggested that Stranger than Paradise is connected to the New American Cinema through a similarity in character centered  narratives that closely resemble real life.

3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
The script (especially the 1982 script) is a 'blueprint' according to Jarmusch, many scenes contain only descriptions of action rather than dialog, the script is more of a treatment than a screenplay, and finally, the finished movie was funded after a 'short' comprised of the first section of the film was screened for financiers. The short was later added to the rest of the footage shot.

4. What is an "execution dependent" screenplay?
An "execution dependent" screenplay is a film that exists on a stylistic and visual level that may not be apparent upon viewing the script.

4. What are the similarities and differences between Stranger than Paradise and punk films?
Jarmusch deliberately disassociated his film from the New Wave music popular at the time, despite his familiarariy with the 'scene'. Jarmush had worked in the punk scene and Stranger than Paradise is vested in the spirit of the punk film scene without a slavish devotion to the iconography of the genre.

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