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3-4- Das Drehbuch 137
„Although the Epstein Script follows in a general way the new story line, I feel it is written
in a radically different vein from the work I've just finished on the first half of the picture.
They apparently see the situations more in the terms of their comicpossibilities, while my
effort has been to legitimize the characters and develop a serious melodrama of present day
significance, using humour merely as a relief from dramatic tension. I am not presuming
to decide which is the better way to attack the picture, but certainly they are different from
the ground up."232
Da die Zeit drängte, zog man jetzt, kurz vor Drehbeginn, auch noch die beiden Autoren
Casey Robinson und Lenore Coffee hinzu. Am 25. Mai war Drehbeginn und das Buch
war immer noch nicht fertig. Die Epsteins hatten ihren Teil drei Tage nach Drehbeginn
abgeschlossen, Howard Koch schrieb danach noch zwei Wochen weiter. Alle hatten sich
während der Drehzeit für etwaige Änderungen zu Verfügung zu halten. Während der
Dreharbeiten wussten die Schauspieler manchmal nicht, wie die Szene am nächsten Tag
weitergeht, weil das Buch noch in der Nacht umgeschrieben wurde. Ein Memo von Hai
Wallis an Michael Curtiz vom 6. Juli verdeutlicht die schwierige Situation, in der sich
Filmteam und Drehbuchautoren befanden.
„Dear Mike, I see that tomorrowyou are shooting in the Cafewith Laszlo and Ilsa arriving
and with Renault putting Laszlo under arrest. All of this in the new rewrite on which we
are working with Koch is the same as in your Revised Final Script, with the exception
of scene 245 where Ilsa asks Rick if he had arranged everything. I am attaching the new
dialogue to take the place of this scene. Everything eise remains the same.
I am also attaching the new ending as Koch and I have finally worked it out. I think you
will find that it incorporates all of the changes you wanted made, and I think we have
successfully licked the big scene between Ilsa and Rick at the airport by bringing Laszlo
in at the finish of it.
It was practically impossible to write a convincing scene between the two people in which
Rick could seil Ilsa on the idea of leaving without him. No arguments that Rick could put
up would be sufficient to sway her from her decision to remain, and that, I think, is why
we always had so much trouble in trying to write such a scene between the two people.
However, by bringing Laszlo in for the additional few lines, it makes it impossible for Ilsa
to protest further and in this way the scene can be finished convincingly.
Will you please look over this whole section tonight and I will discuss it with you tomor-
row to see if you have any other suggestions.
232 Zit. in: Harlan Lebo: Casablanca — Bebind the Scenes. S. 103.
Der Filmkomponist Max Steiner
1888 - 1971
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- Titel
- Der Filmkomponist Max Steiner
- Untertitel
- 1888 - 1971
- Autor
- Peter Wegele
- Ort
- Wien
- Datum
- 2012
- Sprache
- deutsch
- Lizenz
- CC BY-NC-ND 3.0
- Abmessungen
- 17.0 x 24.0 cm
- Seiten
- 302
- Schlagwörter
- Film Music, Biography, Cinema, Musical science, Musicology, History of Music
- Kategorie
- Biographien