Boxoffice-January.2000

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the story." Robbins explains, in a way. the shot tells us, the audience, about the world of the film and where we might be going. "The opening helps us first of all understand when [the film takes place] without hitting you over the head with. 'Okay, we think you're stupid. Here's what you have to know before you're allowed to watch this film.' To present the newsreels in that way gives you the choice. You can either watch them, or you don't have to watch them. You can watch [Olive Stanton (Emily Watson)], and you can understand that something's going on: She's dressing. We understand that she's been sleeping there. Then we understand that she's being thrown out of the. theatre, that she's a vagrant of some kind. So now we're with her and she's poor, and by the end of the shot, she's washing herself in the fire hydrant. "And then we're up into a [secondstory] apartment where some kind of creativity is happening. A composer is composing, and then he imagines that this little doll in a [model] theatre is singing, so there's a surreal element as well. "Pretty much, that is the world of the film. I wanted to be able to tell the world of the film.... I want[ed] to tell a story in this shot. I want[ed] to very elegantly and quietly and slowly show poverty. Because in order to understand why this is important, why the end of this movie is important, why their standing up in that theatre is courageous, you first have to understand that they have nothing. This is where she's starting, and this is where she could go back to. So when she stands up in the theatre, [there's] a real courage, a real dignity to it." It's this moment that first sparked Robbins' imagination, and moments like it that will continue to inspire him. whatever their politics. "It all starts with story." he says. "You have to be telling a story. You have to have an interesting story. So what you have to first come to terms with is 'What is the story Cm telling'?' And if you can't figure that out, then you've got a problem. There's nothing thematic or philosophical that binds anv of the stories that I've told. I think they're all great .'s, though. "Cradle Will R
iWhwr^fevjf You have to love fine audio to produce a cinema stereo processor that exceeds the technical specifications and performance of ANY other processor. The sound quality of our THX approved CSP1200 is unmistakable. When you walk into an auditorium and hear startling sound quality. . . it has to be a Panastereo. Our customers tell us of the huge "Wow!" factor in audience response. No other processor even comes close! Yes, it will cost a little more when you add a digital player, but the improved sound quality is enjoyable every show. Ask us how to blow a CP500, or any other processor, away! Please visit our websites for details on all the outstanding Panastereo products, including the all new 70mm system. The Internet addresses are: www.panastereo.com and www.panalogic.com. Response No 35 PANAITHMEO Atlanta, Georgia and Sydney, Australia
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Boxoffice-January.2000

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