Big Fish: Relationships by dante everage on Prezi
Big Fish is a American fantasy comedy-drama film based on the novel of the same . The reconciliation of the father-son relationship between Edward and William is the key theme in Big Fish. Novelist Daniel Wallace's interest in the . Aug 9, The two narrative modes are sides of a single coin in “Big Fish,” a musical about a son's relationship with his charming, infuriating fabulist of a. In Daniel Wallace's novel, Big Fish: A Novel of Mythic Proportions and Tim Burton's film, Big Fish, the relationship between the dying protagonist, Edward Bloom.
Wallace found the "charming" character of Edward Bloom similar to his father, who used charm to keep his distance from other people. In college, August's father died, and like Will, August had attempted to get to know him before his death, but found it difficult.
Like Will, August had studied journalism and was 28 years old. In the film, Will says of Edward, "I didn't see anything of myself in my father, and I don't think he saw anything of himself in me.
We were like strangers who knew each other very well.
I tried to get in touch with him, to have, like in this film, some sort of resolution, but it was impossible. Brintnall observes how the father-son relationship resolves itself at the end of the film. As Edward dies, Will finally lets go of his anger and begins to understand his father for the first time: In a final gesture of love and comprehension, after a lifetime of despising his father's stories and his father as story-teller, Will finishes the story his father has begun, pulling together the themes, images and characters of his father's storied life to blend reality and fantasy in act of communion and care.
Big Fish - Wikipedia
By unselfishly releasing the anger he has held about his father's stories, Will gains the understanding that all we are our stories and that his father's stories gave him a reality and substance and a dimension that was as real, genuine, and deep as the day-to-day experiences that Will sought out.
Will comes to understand, then, that his father—and the rest of us—are our stories and that the deeper reality of our lives may, in fact, not be our truest self. In September August convinced Columbia Pictures to acquire the film rights on his behalf. Spielberg planned to have DreamWorks co-finance and distribute Big Fish with Columbia, and planned to have filming start in late after completing Minority Report Pieces got moved around, but it wasn't a lot of new stuff being created.
It ended up being a really good intellectual exercise in my explaining and defending and reanalyzing pieces of the story.
It was something that was very difficult for me to discuss, but then this script came along and it actually dealt with those same issues, and so it was an amazing catharsis to do this film—because you're able to work through those feelings without having to talk to a therapist about it. Following the production of Planet of the Apesthe director wanted to get back to making a smaller film. Burton enjoyed the script, feeling that it was the first unique story he was offered since Beetlejuice Burton also found appeal in the story's combination of an emotional drama with exaggerated tall tales, which allowed him to tell various stories of different genres.“Big Fish” at Wayzata Central Middle School
Zanuck also had a difficult relationship with his own father, Darryl F. Zanuckwho once fired him as head of production at 20th Century Fox.
Burton had previously worked with Nicholson on Batman and Mars Attacks! He was adorable from beginning to end, and his timing was amazing for a child actor. Writer John August and composer Andrew Lippa succeed in this adaption of Big Fish, moving the audience in a way that many musicals cannot. Typically, there is a bias against the sentimental in theater, but grown men were crying at the end of Act Two.
Maybe it is the story, maybe it is the songs, but regardless, this musical stays in your head. At first one thinks that this will be a minimalist set, with seven seats in a circle that are carried by dramatically costumed characters, including a mermaid and a giant. But as the play continues, you realize that the set is heavily dependent on the amazing costuming talents of Kristina Hanssen.
I enjoyed being able to see the expressions of the actors in such an emotional storyline, and being so close to the action made me realize how much harder it is to perform musicals up close.
There is little room for mistakes as the proximity makes them so obvious, and the entire cast worked well together in a small venue with a figuratively large terrain.
Instead, he sees the emotional and spiritual truth of these narratives, which cleverly reminds the audience of the dangers of having a too-literal-minded interpretation of the world.
Big Fish is a simple story with a deeper message that is cross-generational, and it is refreshing to see a production that is genuinely suitable and entertaining for almost all ages. There is much admire in Big Fish, even if you do not gravitate toward this kind of musical: Although Vavra is only 33, she completely pulls off portraying Sandra as a high schooler, a college coed, a young parent and a soon-to-be-grandmother, all with ease.
I thought her vocals were perfect for the role as well—a strong voice in a strong cast.