"Director: Baz Luhrmann (second choice is Rob Marshall, third is Julie Taymor) "
Jeez...this reads like a list of everyone I wouldn't want to touch the show with a fifty-foot pole!
I think Julie Taymor would do a beautiful job with this movie. Luhrman might work though I'm afraid he'd want to get Nicole Kidman to play Dot, and she is so wrong for the role.
I think Marshall is going to do a great job with NINE, at least the movie looks visually stunning. Then again his MEMOIRS OF A GEISHA was incredibly beautiful-looking but completely ineffective in terms of storytelling which is why I'd be a bit reluctant to think about him for this project. I'd love for him to tackle FOLLIES instead.
Stand-by Joined: 5/11/08
This thread got me thinking - has anyone seen that late 90's film with Paltrow, Sliding Doors? The one where she misses the train just barely, and the story is told in parallel regarding what her life is like catching the train and then alternatively how it happens by her missing the train? I could see some interesting use of split screens in that fashion with Sunday... especially with the song Sunday possibly. I'd honestly love to see Kate Winslet and Robert Downey Jr. respectively.
Alfonso Cuarón ...also, he could do Into the Woods
I can't see anybody with a "normal" cinematic eye directing a film version of SUNDAY with any success. Which is why I suggested non-traditional filmmakers who could potentially re-imagine it for film.
I agree, Besty. I thought your Julie Taymor suggestion was ingenious.
Broadway Legend Joined: 2/20/04
This seems pointless. The whole point of the play is thatg the painting is created with LIVING HUMAN BEINGS in a stage in front of you. There is nothing new or innovative about seeing a painting reproduced on film. Hell, we had Gene Kelly's "An American in Paris" ballet back in the 50's.
"The whole point of the play is thatg (sic) the painting is created with LIVING HUMAN BEINGS in a stage in front of you."
Is that really the whole point of the show? :-/
Gothampc: I hate Act 2.
This is what I was asking about. Why?
For me, Act 1 is brilliant but very cerebral. Act 2 brings out the emotional core of the show, especially with the songs "Children and Art", "Lesson #8" and "Move On." I think without Act 2, the first act would be far less effective.
And to the person who felt the plot was "thin"... were you paying attention at all? There is so much going on in this show that one could fill pages with discussions on what it is about. True, a lot of it is subtextual and they don't hammer each point home. Even so, SUNDAY has so many layers that your comment remins me of the character of Jules who looks casually at the painting and decries "You can't even see their faces."
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
I agree with StageManager2 that using a structure similar to the film "The French Lieutenant's Woman" (like "The Godfather, Part II") and having the modern and older sections interspersed would be the only way it could work as a film. The problem is, "Sunday" doesn't quite work as a stage show and so much of its impact is achieved through theatrical devices that it would need a thorough overhaul, which would be tricky. But, you know what....if "Mamma Mia" can be transferred to film anything can. I'd rather have an unsuccessful by valiently attempted Sunday than 1,000 Mamma Mias.
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