DUKE ORSINO's governor palace, stage right tower, morning. (Set)
Illyria, the babana republic, national flag and anthem. Orsino is
in a British uniform and with a champaign glass. Cesario, leather jacket, messanger, baseball cap.
Enter DUKE ORSINO, followed by Viola one step behind, he changes directions constantly, playing with her.
DUKE ORSINO
Cesario?
VIOLA
On your attendance, my lord; here.
DUKE ORSINO ("men's talk")
Stand you a while aloof, Cesario,
Thou know'st no less but all; I have unclasp'd
To thee the book even of my secret soul:
Therefore, good youth, address thy gait unto her;
Be not denied access, stand at her doors,
And tell them, there thy fixed foot shall grow
Till thou have audience.
VIOLA
Sure, my noble lord,
If she be so abandon'd to her sorrow
As it is spoke, she never will admit me.
DUKE ORSINO
Be clamorous and leap all civil bounds
Rather than make unprofited return.
VIOLA
Say I do speak with her, my lord, what
then?
DUKE ORSINO
O, then unfold the passion of my love,
Surprise her with discourse of my dear faith:
It shall become thee well to act my woes;
She will attend it better in thy youth
Than in a nuncio's of more grave aspect.
CUT to Viola/Cesario CU, back to Orsino CU, back to her:
VIOLA
I think not so, my lord.
CU -- Orsino smiles. XCU of his hand on her face. His face is next to her's. Moving closer with the camera. XCU of her mouth, her eyes. He is behind her.
DUKE ORSINO
Dear lad, believe it;
For they shall yet belie thy happy years,
That say thou art a man: (touches her lips) Diana's lip
Is not more smooth and r
ubious; thy small pipe
Is as the maiden's organ, shrill and sound,
And all is semblative a woman's part.
I know thy constellation is right apt
For this affair. Some four or five attend him;
All, if you will; for I myself am best
When least in company. Prosper well in this,
And thou shalt live as freely as thy lord,
To call his fortunes thine.
VIOLA
I'll do my best
To woo your lady:
Leaves. Stops. Looks back. Orsino CU -- he smiles. CUT to her CU.
Aside (to CAMERA)
yet, a barful strife!
Whoe'er I woo, (looks at the rose) myself would be his wife (kisses the ring).
Orsino smiles and follows her.
CUT to Titles
Notes
Play, Show and ADAPTATION for the screen: How to Rewrite 12th Night into a movie script.
Dynamic Environment -- extras, moving life, lanscapes, ocean, yachts, fishing, eating (smoking and drinking in movies, violence and sex -- visible action).
Thinking of VT is thinking about visualization (physicalization).
1. Womam/Man Duality:
Two marble antique statues -- Adam & Eve naked.
Half woman/half man costume in the crowd. Crossdressers.
Her neck, fake mustach(?), her hands. She has dark glasses, he takes them off.
2. "Cat & Mouse" -- symbol? He leads the scene!
Camera moves around them -- she is dizzy.
Unvielling -- winds, curtains, window. They are in his car? On motorbikes?
Bathroom?
Gim. He is in a bath! Swimming pool! On the beach?
How does this thought to test her came to him mind? We need to see the process.
2. REWORKING the LOCATION
Rio Carnival type, SOUNDS of the crowd, Music -- what song?
3. How ro work the COMEDY? Genre Rules!
4. SUBTEXT on the Screen
"You, Cesario, tell all this to Viola, but we call her "Olivia" -- Do you understand the game? I am talking about you!"
"Aside" = CU.
Titles/text on the screen (silent movies style) -- The End
Subtitles (foreign movies style) -- as subtext
5. STYLE
Rhythm, angles, secondary and primary motion (life of the camera). DIRECTING THE CAMERA
