Development
Director Alan Rudolph was fascinated with the Algonquin Round Table as a child when he discovered Gluyas Williams' illustrations in a collection of Robert Benchley's essays. After making The Moderns, a film about American expatriates in 1920s Paris, Rudolph wanted to tackle a fact-based drama set in the same era. He began work on a screenplay with novelist and former Washington Star journalist Randy Sue Coburn about legendary writer Dorothy Parker. In 1992, Rudolph attended a Fourth of July party hosted by filmmaker Robert Altman who introduced him to actress Jennifer Jason Leigh. Rudolph was surprised by her physical resemblance to Parker and was impressed by her knowledge of the Jazz Age. Leigh was so committed to doing the film that she agreed to make it for "a tenth of what I normally get for a film".
The screenplay originally focused on the platonic relationship between Parker and Robert Benchley, but this did not appeal to any financial backers. There still was no interest even when Altman came on board as producer. The emphasis on Parker was the next change to the script, but Rudolph still had no luck finding financing for "a period biography of a literate woman." Altman used his clout to persuade Fine Line Features and Miramax - two studios he was making films for - to team up, with the former releasing Mrs. Parker and the Vicious Circle domestically and the latter handling foreign distribution. Altman claimed that he forced the film to be made by putting his own money into it and "I put other projects of mine hostage to it. I did a lot of lying".
Rudolph shot the film in Montreal because the building facades in its old city most closely resembled period New York City. Full financing was not acquired until four weeks into principal photography.
The film's large cast followed Leigh's lead and agreed to work for much lower than their usual salaries. Rudolph invited them to write their own dialogue, which resulted in a chaotic first couple of days of principal photography. Actor Campbell Scott remembered, "Everyone hung on to what they knew about their characters and just sort of threw it out there." Actress Jennifer Beals discussed this in her appearance on the Jon Favreau documentary program Dinner for Five, wherein she stated that much dialogue was improvised in the style of the real-life characters actors were playing, but that many of those characters were not integral to the plot. As such, many of the actors had much larger parts that were edited down to nearly nothing. The cast trusted their director during the 40-day shoot. They stayed in a run-down hotel dubbed Camp Rudolph and engaged in all-night poker games. Leigh chose not to participate in these activities, preferring to stay in character on and off camera. She did a great amount of research for the role and said, "I wanted to be as close to her as I possibly could." To this end, Leigh stayed for a week at the Algonquin Hotel and read Parker's entire body of work. In addition, the actress listened repeatedly to the two existing audio recordings of Parker in order to perfect the writer's distinctive voice. Leigh found that Parker "had a sensibility that I understand very, very well. A sadness. A depression."
Read more about this topic: Mrs. Parker And The Vicious Circle
Famous quotes containing the word development:
“Other nations have tried to check ... the fulfillment of our manifest destiny to overspread the continent allotted by Providence for the free development of our yearly multiplying millions.”
—John Louis O’Sullivan (1813–1895)
“Ultimately, it is the receiving of the child and hearing what he or she has to say that develops the child’s mind and personhood.... Parents who enter into a dialogue with their children, who draw out and respect their opinions, are more likely to have children whose intellectual and ethical development proceeds rapidly and surely.”
—Mary Field Belenky (20th century)
“The experience of a sense of guilt for wrong-doing is necessary for the development of self-control. The guilt feelings will later serve as a warning signal which the child can produce himself when an impulse to repeat the naughty act comes over him. When the child can produce his on warning signals, independent of the actual presence of the adult, he is on the way to developing a conscience.”
—Selma H. Fraiberg (20th century)