"Authors shouldn't write dialogue; they should let their characters speak for themselves."
Giving characters their own distinctive voice is the most profound lesson I have learnt from working with industry professionals. An interesting exercise at a table read of the Hīkoi screenplay was to remove the character headings from the actors' copies of the script and to see if it remains apparent to them when they are speaking.
Fascinating characters are essential for any work of fiction. I believe the success of Amiri & Aroha on the international film festival circuit is due to the audience's involvement with the characters. A competition judge told me he shed tears when the gang thwarted Aroha's childhood friendship with her cousin Hunapo.
Writing the novel has afforded the opportunity to develop these complex characters further. Understanding how they talk and react to adverse situations allows them to speak for themselves, adding tremendous depth to the story.
My old mentor, the late great David Lean, gave me this advice: "You must know what your characters eat for breakfast. It's not that you're going to show them having breakfast, but if you are to portray them accurately, you need to know them in that much detail."
During the shooting of Amiri & Aroha, I can recall some lively discussions between takes on what the protagonists would have for their breakfast. We all agreed that Amiri would be an eggs benedict man. We decided Aroha was more a muesli and toast girl, and there was no doubt that Hunapo would have eggs and lashings of bacon with black pudding, washed down with a swig of yesterday's beer.
In a series of postage stamps celebrating great British films, the Royal Mail in the UK has recognised Lawrence of Arabia, the first film that I ever saw and the one that started me on my film making journey.
How well I remember my first visit to the cinema and being entranced by this extraordinary film. I recently watched the 50th Anniversary restoration and was captivated anew.
I have to be honest and say that there have been some moments recently, when post production on Rere’s Children has proved so difficult, that I have cursed the day I stepped into that cinema and saw Lawrence. But as I now experience the joy of completing the Amiri & Aroha trilogy and sharing it with the world, I know that I owe Lawrence of Arabia - and David Lean - a great deal more than words can ever express.
Frame enlargement from this evening’s footage: the passing train adds the perfect atmosphere as Arapeta and Miriama walk back from their frightening experience at the castle, only to be apprehended by a youth gang.
Trains have always fascinated me. Indeed trains have proved significant characters in a number of my films. Trains were a symbol of departure and loss in one of my earliest films Andante and the dramatic climax of Phaedra’s Friend took place on the London Underground.
Back in Gisborne, I had shot some very atmospheric scenes of Shane Luke as the adult Arapeta wandering along a disused railway track when his life falls to pieces at the end of Amiri’s Child. Tonight’s scene will add unity to the locations as well as a dramatic transition between the scenes at Campbell Park and the youth gang sequence.
David Lean always maintained that: “good films can only be made by dedicated maniacs”. After a long and punishing day on location, camping out by the train track to get this elusive shot was definitely dedicated and, in the view of the cast, quite maniacal!
The new poster for the 50th Anniversary restoration of Lawrence of Arabia which premieres at the Cannes Film Festival this week
My first visit to the cinema as an impressionable teenager was a defining moment in my life. I remember so vividly how that dark and dingy cinema was transformed into the desert and I was spellbound. A truly life changing experience, from that day onwards I knew I had to make films.
Lawrence of Arabia has been my all time favourite film since that first visit to the cinema. I can’t wait to see the new restoration both in the cinema and the long awaited high definition Blu-Ray release.
My life seems to have been taken over by my films recently, especially as the Amiri & Aroha trilogy progresses. With so much of my time tied up with film making, I could be forgiven for cursing the day I entered that cinema, particularly when I see colleagues enjoying their leisure pursuits! But when I experience the joy of competing a film, I know that I owe Lawrence of Arabia - and David Lean - a great deal more than words can express.
The long awaited release of Lawrence of Arabia on Blu-Ray in a beautifully packaged collector’s edition - coming soon!
This is me circa 1986 at the Schoolhouse set from Ryan’s Daughter
Our weekly trip to Dunedin for the David Lean season continued this week with Ryan’s Daughter.
Ryan’s Daughter is one of those films which over the years has developed a huge cult following and has become one of cinema’s icons. Books have been written on the legendary trials and tribulations of its production, and critical reappraisal has assured it a place as David Lean’s most underestimated film and his undiscovered masterpiece.
Ryan’s Daughter was tremendously influential on me as a young film maker, coming as it did in 1970, whilst I was planning my first film Thursday’s Child.
I am not alone in making a pilgrimage to the locations where this extraordinary film was made. The school house still stands, over 40 years after the film was made!
Ryan’s Daughter was hugely influential on me as a young film maker.
David Lean’s masterpiece was released in 1970, during my last year at school. I was preparing my first film, Thursday’s Child when I first saw Ryan’s Daughter at the Empire Leicester Square in London, at the time said to have had the world’s best 70mm projection. I was spellbound from those opening titles, with dawn breaking over the Irish coast, one moment exquisitely beautiful, the next menacing and threatening, like the opening of a great novel.
Whilst the projection and print quality at the Rialto Dunedin was no match for the Empire Leicester Square, it was wonderful to see this film, with its unparalleled 70mm cinematography, back where it belongs on the giant cinema screen!
No other film, in my view, has so effectively captured nature’s permanence over human frailty.
The Rialto David Lean season in Dunedin continued this week with Doctor Zhivago. Often glibly dismissed as Lean’s most commercially successful work, today’s screening emphasized to me that Doctor Zhivago is an immensely personal and powerful piece of cinema. Contrasts abound; Lean shot the love scenes harshly and the war scenes romantically. Contrary to those glib put downs by the critics, Lean gives us striking characters in a gripping plot. It would perhaps be surprising to those critics that Lean in fact initially wanted to film Doctor Zhivago in black and white for stark effect. Yet Lean clearly felt there was more he wanted to do with Zhivago, even in the last days of his life he talked about his wish to remake Doctor Zhivago.
What a special father’s day treat for me, the chance to see Lawrence of Arabia, my all time favourite film again on the big screen, the film that started my film making journey…
The Rialto Cinema David Lean season started in Dunedin today and could not have been a more perfect father’s day gift for me. David Lean and Lawrence of Arabia have been such an important part of my life and a huge influence on my work.
Mark was really excited to come with me to see Lawrence of Arabia today. Like so many young people today, Mark was used to seeing the David Lean films on television through DVD and video. This was the first time Mark had seen a film in the cinema with an overture and an intermission. It was marvelous to watch Mark transfixed by this wonderful film, just as I had been all those years ago as an impressionable teenager.
I wrote about my discovery of cinema through Lawrence of Arabia for an occasional series on favourite films in Movie Maker magazine in the mid 1980s.
Read my article My Favourite Film reprinted from the December 1984 issue of Movie Maker here.
The opportunity to see David Lean’s final four films again on the big screen is a dream come true for me. It was Lawrence of Arabia which ignited my lifelong passion for cinema as an impressionable teenager. The impact of these four masterpieces on my film making has been immense. I was really sad when I saw that the four films were screening in a David Lean season in Auckland earlier this year and there was no way with all my commitments that I could get to see them. What joy that the season has now come to the Rialto Dunedin and I will be able to see all four films on the big screen as Lean had intended. Young people are so used to seeing these films on DVD and video, but nothing can compare with their power in the cinema.
Walking into the beautifully atmospheric Rialto cinema in Dunedin this afternoon to watch Lawrence of Arabia was just like my first visit to the cinema as a teenager, I was transfixed as that beam of light from the projection room lit the screen and the magic of this wonderful film had me captivated once more. This is cinema at its very best and something which television or video can never capture.
Good films can only be made by dedicated maniacs - David Lean
It was with great sadness that I learnt of the passing of Eddie Fowlie today, on the eve of publication of his memoirs David Lean’s Dedicated Maniac - Memoirs of a Film Specialist.
Eddie Fowlie was one of the last surviving members of David Lean’s Dedicate Maniacs, the faithful band of film makers who helped the great director achieve his elusive vision. Eddie also became on of David Lean’s closest personal friends.
Perhaps Eddie Fowlie will be best remembered for creating the Russian winter in a Spanish summer for Doctor Zhivago, creating vast snowy landscapes using tons of crushed white marble dust. Or perhaps even more remarkable, creating the idyllic woodland setting for the love scene in Ryan’s Daughter inside an old barn!
Your work lives on Eddie, in these magnificent films.