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Posts Tagged ‘Hannibal Lecter’

The Silence of the Lambs is the most authentically terrifying movie since Psycho.
Robin Wood
Film Reference

“Do we seek out things to covet? … No. We begin by coveting what we see every day.”
Hannibal Lecter

It’s hard to believe that The Silence of the Lambs (1991) was released almost 20 years ago.  A few days ago I watched the five time Oscar-winner for the first time in at least a decade and it hasn’t lost any sparkle—or creepiness.  The movie is based on the best-selling book of the same name by Thomas Harris.  Harris’ roots are in the deep south, born in Jackson, Tennessee and raised in the small town of Rich, Mississippi. In 1988, his book The Silence of the Lambs won the Bram Stroker Award (Novel) presented by the Horror Writers Association.

So the story had a lot going for it when screenwriter Ted Tally set out to turn the 352-page novel into a 126-page screenplay. When Tally was finished he had crafted a well-tuned script and walked away win an Oscar for best adapted screenplay.

“The first thing I do is break down the book scene by scene. That’s my method of working, the way I approach a screenplay adaptation. When I have all that broken down, I’ll try to establish and define the line of events; this event happens, then this event, then this and this happens, all the time trying to keep the integrity of the novel, or source material.

What’s important for me is finding what sticks out in my mind. That’s when I’ll put those scenes down on cards, one by one, just getting the story line down, concentrating on the needs of the adaptation.

Adapting The Silence of the Lambs, for example, I knew this had to be Clarice Starling’s (Jodie Foster’s) story. Even though the book goes inside Hannibal Lecter’s mind, inside Crawford’s (Scott Glenn’s) mind, inside Jame Gumb’s mind, the book basically follows the character of Clarice.

So, this had to be Clarice’s movie. Anything she’s not in, any scene that may be extraneous to furthering Clarice’s story, had to be cut, if possible. If it’s not cut, then it has to be kept to an absolute minimum. This story is her journey. Approaching it this way meant automatically reducing the book.

But keeping a determined focus on Clarice meant losing a lot of wonderful things that were in the book. Jack Crawford’s dying wife, for example. I bitterly tried to hang on to that in the first couple of drafts, but by the third draft I realized it wouldn’t work; so, it had to go. I had to be ruthless in terms of what I kept and what I didn’t keep.”
Screenwriter  Ted Tally
Ted Tally —On Adaptation/ Syd Field.com

Anthony Hopkins, who won a Best Actor Oscar for his portrayal of Hannibal the Cannibal, holds the record in the Best Actor category for shortest on screen time (under 17 minutes). Hopkins’ acting lesson: “How do you play Hannibal Lecter? Well just don’t move. Scare people by being still.”

Though Hopkins was an understudy to Sir Laurence Olivier at the Royal National Theater in London it may have been his unbringing that help shaped his role as Lecter. On IMDB Hopkins is quoted as saying, “My own father was a tough man. He was a pretty red hot guy but he was also cold. He was also slightly disappointed in me because I was not a good kid as a school boy, you know. But I learned from it, I liked that coldness, because it was harsh. And he taught me to be tough. So I know how to be tough. I know how to be strong. I know how to be ruthless. It’s part of my nature. I wouldn’t be an actor if I wasn’t.”

The Silence of the Lambs also won an Oscar for Best Picture, Best Director (Jonathan Demme), and Best Actress in a Leading Role (Jodie Foster) making it the last film to pull off an Oscar sweep in the top five categories. The seeds of which were planted all those years ago when Thomas Harris was reading Hemingway as a youngster in the fertile literary land of the Mississippi. It probably didn’t hurt that he earned an English degree at Baylor University and worked as a crime reporter in Texas and New York.

Scott W. Smith

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“Who wouldn’t want to play Hans Gruber, Norma Rae Webster, Hannibal Lecter, Ellen Ripley, or Gordon Gekko?”
Jeffrey Hirschberg
11 Laws of Great Stroytelling

Everyone is not interested in writing to attract a movie star, but for those of you who wouldn’t mind a movie star being attracted to a screenplay you write here’s some good advise;

“Movie stars like to play complex, fascinating characters with interesting moral dilemmas. It does’t matter whether you create a completely original character, negotiate the life story rights of a living character based on a true story, or portray a larger-than-life  historical figure: Make your character big, complex and fascinating!”

Kate Wright
Screenwriting is Storytelling
Page 33

Scott W. Smith

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