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SAE Magazine 13-2

130 Production & Know How // Adaptation process Although I was a declared Freudian and questioned such Jungian notions, I had to admit that ‘surrendering’ to the energy of the piece, rather than ‘grabbing the bull by the horns’ and steering it had resulted in significant poetic beauty. The process was directly opposite to my painstaking training in structural analysis for cinema. However, as Rodney pointed out, the ‘blueprint’ for any story was embedded within the idea itself, not in some imposed structure. I took note. We worked through draft after draft involving such exercises as blind- folding the designated writer (usually me) and ask- ing them to place themselves imaginatively within a given set piece from the novel. As improvising writ- ers, we invented our way out of the darkness. This applied as much to structure as it did to scenarios and imagery. Scenes were arranged on an intuitive level, rather than an intellectual one. This invention on Rodney’s part manage opinions of cinematic stru chains, allowing for greate image. The resultant scre unwieldy. Classic filmic m away from cliché to sugg vital. The filmic story, how succinct form. Whereas th the liberty of letting the temporal art of film preve (except perhaps under Dreyer or John Cassavete The next phase was to h eager producer, Chris W attracted to the work sin ney to adapt this novel int earlier. Both a producer

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