The first sentence, “One winter morning seven years ago I found myself on an escalator” is very tale-like - a winter morning, seven, of all numbers, and the very memorable little girl or whatever she turns into from Don’t Look Now. And then literally that was probably the last time I met someone outside my family for four or five months.Įdith Scob in Georges Franju’s Eyes Without A FaceĪKT: I just had to read the first page of your novel and the film references hooked me in. The whole thing had a kind of otherworldly quality, you know. His house is very beautiful on a lake and has a very calm atmosphere and we had a long conversation about Billy Wilder that morning. Literally, I think, eight or nine days before we locked down in the UK I came back from Berlin after seeing him and then it all happened. You caught him right before Covid hit in March 2020, no? We’ve been in touch for many years and he was in New York in April and we talked about your book. JC: And then you went and saw Volker Schlöndorff after that?ĪKT: I met him at the Hedy Lamarr exhibit here. Jonathan Coe: Oh great! So you read the American edition? Wilder And Me and she was absolutely right. Wilder And Me and Billy Wilder.Īnne-Katrin Titze: Good to see you! On Easter, a dear friend of mine, my father’s wife Gabriele Rigó-Titze, told me about a book I had to read, because it has so many film references and she loved it. These films are slightly linked in my mind.“įrom London this past week, Jonathan Coe joined me on Zoom for an in-depth conversation on Mr. Jonathan Coe: “I must have seen Don’t Look Now maybe the year I saw Fedora for the first time. In screenplay format flashbacks, Wilder himself becomes our guide to Berlin in the 1920s and expatriate life in Paris escaping the Nazi threat. A chance meeting with the famous director at his Irma La Douce-furnished bistro in Beverly Hills (designed by Alexandre Trauner who also worked on Wilder’s Fedora, Kiss Me, Stupid, The Private Life Of Sherlock Holmes, Witness For The Prosecution, Love In The Afternoon, and The Apartment) changes her life and it is with her that we travel to Greece and Munich for the shoot, and back to London, where she lives in post-Wilder times. Wilder And Me, centres on the making of Billy Wilder’s penultimate movie, Fedora, (starring William Holden, Marthe Keller, Hildegard Knef, Michael York) seen through the lens of a fictional Greek composer named Calista. Jonathan Coe’s imaginative and savvy novel, Mr. In the first instalment with the author we discuss Christoph Waltz as Billy Wilder in Stephen Frears’ yet-to-be-filmed adaptation of Jonathan’s novel meeting Volker Schlöndorff just before the Covid lockdown the images of Nicolas Roeg’s Don’t Look Now staying with him a connection between Georges Franju’s Eyes Without A Face (Les Yeux Sans Visage), Wilder’s Fedora, and Pedro Almodóvar’s The Skin I Live In (La Piel Que Habito) Kevin MacDonald and Emeric Pressburger Jaws in Venice and Frederic Tuten People On Sunday (Menschen Am Sonntag) how a scene from Alfred Hitchcock’s Spellbound solved a narrative concern the intimacy of first-person perspectives tastes formed in youth and Halliwell’s Film Guide, compiled by Leslie Halliwell as “main reference book” for Seventies British cinephiles. Jonathan Coe on Fedora: “The imagery always reminds me of that Georges Franju film Eyes Without A Face.”
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