Orson Welles's Filming Othello
Click here to link to a complete transcription of Filming Othello, Welles's documentary about the trials of making his 1952 film.
Shakespeare-Movie Soliloquies and Orson Welles's Chimes at Midnight
Directors usually handle Shakespearean soliloquies in three ways: (1) they have actors speak directly to the audience, as they would have on the Elizabethan stage; (2) they have actors speak to the air, as if yammering on cellphones; or (3) they use a voice-over, as if we were wire-tapping the characters' brains.
Each strategy has its advantages.
Speaking directly to the audience works well for villains, who share their nasty schemes, preparing us to watch with horror as they dupe unknowing victims. The technique also allows for dark comedy: for example, Ian McKellan's Richard III and Harry J. Lennix's Aaron (in Julie Taymor's Titus) act as satanic stand-up comedians, terrifying us and making us laugh with the same speech.
Having actors talk to themselves produces a different effect, allowing us to pretend we're hearing a character's inward thoughts. This works in both comedies and tragedies. In a comedy, we laugh—or chuckle inwardly—when we hear Emma Thompson'…
Each strategy has its advantages.
Speaking directly to the audience works well for villains, who share their nasty schemes, preparing us to watch with horror as they dupe unknowing victims. The technique also allows for dark comedy: for example, Ian McKellan's Richard III and Harry J. Lennix's Aaron (in Julie Taymor's Titus) act as satanic stand-up comedians, terrifying us and making us laugh with the same speech.
Having actors talk to themselves produces a different effect, allowing us to pretend we're hearing a character's inward thoughts. This works in both comedies and tragedies. In a comedy, we laugh—or chuckle inwardly—when we hear Emma Thompson'…
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