Rossi_ A Cock and Bull Story.pdf - The Tristram Shandy Web | IULM

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Brydon: (imitando Coogan) Can we just sort the shoes out first? I’ve got a big house in the Hollywood hills. Look at my pod. Coogan: (sempre più irritato) That’s Alan Partridge (13). I don’t speak like that. Brydon: (imitando Coogan) I don’t talk like that. Yes, I do. Coogan: Stop it. Breve pausa di silenzio Costumista: So, Rob’s too tall. Or you’re too small. Coogan: No, No. Rob’s shoes are too high. Rob’s short. That’s a good thing. That’s why he was hired. Costumista: The problem is continuity, see, because we’ve already shot quite a bit with the shoes. […] Coogan: This is not an ego thing. It really is… is… The shoes are key to the character. Brydon: (ironico) The character’s sole. Convocato per rilasciare un’intervista a Tony Wilson (14) Coogan scopre che il giorno prima, Brydon ha dato vita a una sua brillante imitazione. E mentre le 14
parole del giornalista rievocano le dichiarazioni del “rivale” di Coogan, un flashback ci porta di fronte all’attore che, costretto in un ruolo secondario sia nella ricostruzione del romanzo di Sterne sia nel mockumentary, sostiene una tesi interessante, a metà strada tra il serio e il faceto: «They said, “You’ve got to make it like Steve, make it like Steve Coogan.” Steve, no matter what is doing, is basically “Oh, you’re so dirty.” I mean, that’s basically whether he’s Walter, whether he’s Tristram, whether he’s Steve or he’s Alan Partridge. It all boils down to that. Steve’s hero is Roger Moore and Roger Moore’s style of acting is not a million miles away from Steve’s.» Alla fine di questo breve flashback, l’attenzione torna a concentrarsi su Coogan che, piccato dal resoconto della conversazione, afferma: «If you do an impression, I see it as a sincere form of flattery. He pretends he’s taking the piss, but he loves me really. I think he’s a bit obsessed by me.» In modo simile agli spettatori della pellicola, «[...] Benedict Wong who plays Ed, the first AD, is having a ‘sur-reality’ moment. “I’m one of the behind-the-camera people working in front of the camera,” he explains, “but the whole thing has become very multi-layered. I’ve got to the point where I don’t know who is in the film and who is working on it. Reality and fiction have overlapped each other and it’s like a black hole. If you’re standing too close then you get sucked in.” Like the New York Times journalist who came to interview Winterbottom and got a brief cameo. Or the fact that at one point the South Bank Show documentary crew were filming the film crew filming the fictional DVD crew, headed by Tony Wilson, filming Steve Coogan: “There were a couple of days that I had to remember which cameras were fake and which were real,” admits Dylan Moran. “Everybody was mirroring the reality; you had actors being actors and actors being crew. And crew being actors. The whole thing became a hall of mirror’s”» (15). L’intervista prosegue mostrando l’analfabetismo culturale di Coogan che - come uno studente che ripete una lezione a memoria - alla domanda di Wilson sui motivi che l’hanno spinto ad accettato il ruolo di Tristram Shandy, protagonista del libro ritenuto «unfilmable» dai più, risponde di essere convinto che «Tristram Shandy was a postmodern classic written before there was any modernism to be post about. So it was way ahead of its time, and, in fact, for those who haven’t heard of it, it was actually listed as number eight on the Observer’s Top 100 Books of All Times;» «It was a chronological list,» lo corregge Wilson, 15
Page 1 and 2: Tristram Shandy ovvero A Cock and B
Page 3 and 4: insecure, an utterly believable car
Page 5 and 6: combattimento vero e proprio e da q
Page 7 and 8: parrucca, si trasforma in Sir Walte
Page 9 and 10: Mentre le urla assordanti di Elizab
Page 11 and 12: second was more enjoyable (primo pi
Page 13: Non solo Winterbottom si avvale del
Page 17 and 18: Coogan: (adulandola) Why not choose
Page 19 and 20: Come in altre scene del film, anche
Page 21 and 22: eceived some scripts from America w
Page 23 and 24: of status;» secondo l’attore, «
Page 25 and 26: ai propri eccezionali tempi comici
Page 27 and 28: Alla fine di questo flashback, Coog
Page 29 and 30: campo di battaglia, permettendo all
Page 31 and 32: Journey. ‘Bramin’ was the name
Page 33 and 34: an old trick to get Coogan to talk,
Page 35 and 36: perde i sensi nel vedere la testa d
Page 37 and 38: Brydon: Did I do more Al Pacino in
Page 39 and 40: Attorcigliandosi come un serpente c
Page 41 and 42: alla fine tornerà dalla moglie - e
Page 43 and 44: Wilson’s friend Coogan, whose rea
Page 45 and 46: 32. Leslie Felperin, Variety, 18 se
Page 47 and 48: SERIE TELEVISIVE CITATE: TITOLO ORI

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