The method of working on his scripts, his experiences in the Seventh Art, and his long cooperation and friendship with Terry Gilliam were among the subjects discussed in the masterclass given by Tony Grisoni on Saturday, November 29 at the packed John Cassavetes Theater in the context of the 50th TIFF, attended by TIFF’s president George Corraface and director Despina Mouzaki.
The masterclass, coordinated by journalist and film critic Giorgos Krassakopoulos, opened by Ms Mouzaki. “Tony Grisoni is one of these men who build their ideas by words. A significant share of the paradoxical world of Terry Gilliam’s films belongs to him. Tony Grisoni is an established scriptwriter, among the most brilliant ones in Europe, and we are really happy to have him with us here,” remarked Ms Mouzaki, adding that the British scriptwriter signs the script in actress Samantha Morton’s directorial debut, titled The Unloved; the film is showcased in the International Competition section of this year’s anniversary TIFF edition, thus launching its European premiere in Thessaloniki.
“When you enter the process of scriptwriting, you should believe that your writing is the most important thing in the world, and that it is equally realistic –if not more real than reality itself. However, if you put yourself into the writing, you are bound to be mistaken. The result will be pathetic,” noted Tony Grisoni. He went on to say: “I write best when I create mental images. I visualize the film in my mind and words come on their own. The script gains more meaning and cohesion when the writer bears in mind things such as the decor where dialogue takes place, the background music, and so on. This approach doesn’t necessarily mean that the director who will receive the script will retain every single detail of my imagination; according to him, these elements may not be of interest. Besides, scripts are invariably altered, because this is within the nature of filmmaking. Filmmaking is a social activity, where you cooperate with others, so it is reasonable to influence each other.”
Regarding his method of scriptwriting, Toni Grisoni underlined: “In the past, I used to write ten pages a day. Now, I write five pages per six-day week. I try not to revisit my text before it is finished. I have noticed that re-reading past chapters and correcting occurs when you are afraid to move forward. Thus, I keep writing and simply note down the changes I want to make in past chapters. I make all corrections only when I have finished writing.”
Next, the British scriptwriter explained the reason why he does not rate himself as an author: “I have stated that I do not consider a scriptwriter to be an veritable author, in the sense that my work has no academic status, outside cinematography.” Commenting upon the film In This World by Michael Winterbottom, one of his scripts, Toni Grisoni said: “I want to work on cinema projects that challenge me. At first, I was frightened, not knowing what to do. My participation in this film, however, was one of the happiest moments in my career.” Talking about this motion picture, which relates the journey of two young illegal immigrants from Afghanistan to London, Toni Grisoni stressed: “This is a strange ‘mix’ of fiction and reality. Jamal, the protagonist, was a 14 year-old amateur child actor from Afghanistan, who lived in a concentration camp in Pakistan, and had never left that place. When the truck which carried him crossed various European countries, he had the most spontaneous and realistic reactions.” Tony Grisoni concluded by adding that Jamal now actually lives in London: “He has settled there. He is studying and has become a proper Londoner. He has even joined Facebook!”
Tony Grisoni elaborated on his successful cooperation with Terry Gilliam, in films such as Fear and Loathing in Las Vegas and Tideland, among others. “Terry had read my script and expressed his interest. I used to leave messages on his answer machine, but he finally contacted me four years later, saying he had been ...busy!” noted the British scriptwriter, and added in a self-sarcastic tone: “When they ask Terry why we works with me so often, he replies: ‘Because it’s really cheap!’” Both creators share a deep friendship, as Tony Grisoni remarked: “Terry Gilliam is very good in working with a script. He has read many of my works on various projects, including Red Riding and Kingsland #1. He is a true friend with a clear opinion and one who always speaks his mind. Although I have actually heard him say ‘throw away the script’ before shooting a scene, in fact he does shoot the scene and in this scene he invents and integrates his own elements.” Moreover, when asked about the ‘chaotic’ atmosphere that is said to exist on a Terry Gilliam film set, Toni Grisoni clarified: “When I tried to direct a film, I realized that during the shooting you try to liberate others from their thoughts and insecurities. One way to achieve this is by creating this sense of chaos.”
Another Tony Grisoni – Terry Gilliam cooperation, the adaptation of Hunter Thompson’s Fear and Loathing in Las Vegas, was another topic of discussion in the context of the masterclass. “It is very difficult to adapt any book into a film script. The author of this book has worked really hard on it, creating complex characters and plot. At the same time, nevertheless, the book is a great gift to the scriptwriter, who takes it in his hands and can work on it, too,” he added: “Only Hunter Thompson can write like Hunter Thompson. Everyone who has tried to imitate him has failed. So, Terry and I divided the book in two –I took the second half, if my memory doesn’t fail me- and we attempted a peculiar ‘collage,’ taking verbatim quotes from the book. What’s more, when we needed linking lines, we cited other books by the same author.”
Talking about his new project with Terry Gilliam, The man who killed Don Quixote, a film now at pre-production stage, the British scriptwriter underlined: “This motion picture is an attempt that started ten years ago, but ‘collapsed’ after a few days’ shooting. Today’s script, though, is different compared with the past one. This time it is going to be good!” The discussion raised the topic of the Red Riding film trilogy, based on the eponymous books and which aired on British television. At this point, Toni Grisoni took the opportunity to highlight the importance of research during writing a film script: “I have always tried to find the truth. Reality is invariably more interesting that you can imagine. I like picking reality bits and incorporating them into my scripts. Moreover, research on the Internet or a library is a wonderful excuse to avoid writing!”
Commenting upon the beginning of his career in the cinema as a producer and his experience as a director, Tony Grisoni noted: “At a time I wanted to become a producer. I had worked in all stages of cinematography and in 1978 I shot three short films with a friend. He was directing and I was the producer who also wrote the script, but I didn’t see myself as a scriptwriter. Five years later, my life changed and I found myself living away from London. At that time I started writing ideas on films I would like to watch.” And he added in a humorous tone: “Still, I think that my first chance to make my own films was given to me, not because somebody believed in my scriptwriting talent, but because certain people were old acquaintances!”
Talking about his experience as a director in the short film Kingsland #1, Tony Grisoni explained: “After I had digested the idea and the script, I realized I would have to either dictate every single detail to somebody else or direct the project myself. That particular film, which I eventually directed, was a wonderful experience, but the truth is I have never wanted to be a director. All I have ever wanted was to be present in the ...party of the cinematic art, which I absolutely love. Cinema is a ‘serious game’ to me, as Terry Gilliam would say. Tony Grisoni admitted that in Kingsland #1 he drew his inspiration from the film Rocco and his brothers by Luchino Visconti, an Italian neo-realism classic from one of his favorite cinema movements. “These films emit a peculiar kind of humanity and a dreamlike texture. I had watched them as a student, but rediscovered them again with Michael Winterbottom working on the motion picture In This World. Italian neo-realism has influenced both Kingsland #1 and recently the script of the film The Unloved.”
In the masterclass’s conclusion, Tony Grisoni confessed the scriptwriter’s insecurity regarding his work, by pointing out: “You always doubt about what you have written. You can never feel that your work is done, it just reaches a point where you have to hand it over, either to receive the rest of your payment from the producer or because he has a million ways to get the script from you. Therefore, whenever producers take the script in their hands, they read it and tell you ‘it’s fantastic!’ That’s their comment for each script. And I believe them every time!”
