Rencontres à part: Films, personnages et spectateurs de Woody Allen.
Rencontres à part: Films, personnages et spectateurs de Woody Allen.
Rencontres à part: Films, personnages et spectateurs de Woody Allen.
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
tel-00483686, version 1 - 16 May 2010<br />
STUDENT MARY: Which is why I like <strong>de</strong>constructing them, because... un<strong>de</strong>rneath they‘re<br />
really happy. It‘s just that you don‘t know it.<br />
HARRY: Oh ‗cause it‘s... (laughing).<br />
STUDENT MARY: (laughing) Yeah.<br />
HARRY: It‘s funny. I tell you, I feel like I‘m in a dream, like... this, for me, is like the best<br />
dream I‘ve had in... months. You know, the...<br />
Harry’s fantasy sequence ends.<br />
Interior. Harry’s a<strong>part</strong>ment - night.<br />
HARRY: (voice over)... the happiest dream. (real voice) Oh, I like it. I like it. A character<br />
who‘s too... neurotic to function in life, but can only function in art.<br />
Harry sits at his typewriter. He inserts a she<strong>et</strong> of paper.<br />
- SEVERAL JUMP CUTS -<br />
Harry at work. Pensive, sitting back in his chair. Making a correction. Collapsed over the<br />
typewriter. Making over the type writer. Making another correction. Starting typing.<br />
HARRY: (voice over) Notes for a novel. Opening possibilities. Rifkin led a fragmented,<br />
disjointed existence. He had long ago come to this conclusion: All people know the same<br />
truth. Our lives consist of how we choose to distort it. Only his writing was calm, his writing,<br />
which had in more ways than one, saved his life.<br />
Harry resumes typing. 16<br />
CELEBRITY<br />
I.<br />
PLAN 1.<br />
Plan moyen du hall <strong>de</strong> la salle <strong>de</strong> projection, où se presse la foule nombreuse <strong>de</strong>s mondains<br />
que la caméra montre dans un panoramique <strong>de</strong> la gauche vers la droite jusqu’<strong>à</strong> ce que Tony<br />
<strong>et</strong> Robin soit dans le champ.<br />
TONY (off) So, tell me about your divorce. Are you and your husband still friends?<br />
La caméra s’arrête une fraction <strong>de</strong> secon<strong>de</strong> sur Tony <strong>et</strong> Robin.<br />
ROBIN Oh we would be now if we m<strong>et</strong>. I mean, that‘s the mark of the age of<br />
psychotherapy, isn‘t it?<br />
La caméra les suit <strong>de</strong> droite <strong>à</strong> gauche tandis qu’ils se fraient un chemin, coupe <strong>de</strong> champagne<br />
<strong>à</strong> la main, dans la foule. Robin rit souvent, nerveusement. Tony s’arrête pour serrer la main <strong>à</strong><br />
un homme.<br />
TONY Oh, hey, how are you?<br />
ROBIN Everybody is so sophisticated and mature.<br />
TONY Well at least you‘re not angry anymore.<br />
ROBIN Nnn—no—no—no—no, no, that phase is over. (Elle toussote nerveusement)<br />
Actually, you know, there comes a time when you have to stop tantruming (sic) and move on<br />
with your life, huh?<br />
TONY That champagne tastes like it was ma<strong>de</strong> yesterday.<br />
Comme ils arrivent <strong>à</strong> l’autre bout du hall, un peu <strong>à</strong> l’écart <strong>de</strong> la foule, ils cessent d’avancer <strong>et</strong><br />
la caméra reste sur eux. Ils sont en plan américain, tournés vers la droite.<br />
ROBIN Oh, do you think so? You know, I kind of like it. I‘m feeling a little light-hea<strong>de</strong>d<br />
though. I shouldn‘t be drinking anymore.<br />
16 ALLEN, 1998, pp. 182-6.<br />
63
Change language