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Script vs Film
Apr. 2nd, 2005 02:41 amThe film ends with the shot of the candle-lit pub described in the previous entry but the script has a different ending that was shot but not used in the final film. First, the following shots come before the pub shot in the film, followed by the deleted scene between brackets:
MONTAGE OF FACES (FROM BEFORE)
The three Young Punks, singing along to the chorus.
Two London Girls, arm in arm, singing.
The faces of New York Street Kids, looking up, some sadly, some angrily.
Boy with Crew Cut, eyes closed sings a held note to the skies.
SLOW DISSOLVE TO:
[EXT. LONDON DOCKS - AFTERNOON - 1974
The locked mouths of two handsome Dockers, kissing.
We begin a slow TRACK OUT as the Dockers gently disengage. They look around, coolly, gradually drifting back to work. We begin ascending as well, as the song begins to fade. Gradually the sweet strains of the music are replaced with the sounds of real life.
In our ascent a small barge is revealed, surrounded by black, sparkling water. Finally the song has faded away (we can hear ocean, birds) and the men have returned to their duties.]
Todd: One of the the things we ended up cutting (in editing) is the final image of the script. It called for these two handsome dockers to kiss. We had to let it go because the shot was very confusing as the final note. It felt weightier than intended, although I must say it turned out beautifully. I didn't want the shot to imply glam rock made everyone gay, there's no message of that sort in the film. It was about pop culture transforming us momentarily, but it didn't work as a last shot.
Christine Vachon's story of that shoot: Todd does not like either of the extras who came in to be dockers – he doesn't think they're cute enough. The two most handsome men on our crew are Peter, the stills photographer, and Joe, the wardrobe supervisor. We ask them if they will kiss each other and surprisingly quickly they agree.
MONTAGE OF FACES (FROM BEFORE)
The three Young Punks, singing along to the chorus.
Two London Girls, arm in arm, singing.
The faces of New York Street Kids, looking up, some sadly, some angrily.
Boy with Crew Cut, eyes closed sings a held note to the skies.
SLOW DISSOLVE TO:
[EXT. LONDON DOCKS - AFTERNOON - 1974
The locked mouths of two handsome Dockers, kissing.
We begin a slow TRACK OUT as the Dockers gently disengage. They look around, coolly, gradually drifting back to work. We begin ascending as well, as the song begins to fade. Gradually the sweet strains of the music are replaced with the sounds of real life.
In our ascent a small barge is revealed, surrounded by black, sparkling water. Finally the song has faded away (we can hear ocean, birds) and the men have returned to their duties.]
Todd: One of the the things we ended up cutting (in editing) is the final image of the script. It called for these two handsome dockers to kiss. We had to let it go because the shot was very confusing as the final note. It felt weightier than intended, although I must say it turned out beautifully. I didn't want the shot to imply glam rock made everyone gay, there's no message of that sort in the film. It was about pop culture transforming us momentarily, but it didn't work as a last shot.
Christine Vachon's story of that shoot: Todd does not like either of the extras who came in to be dockers – he doesn't think they're cute enough. The two most handsome men on our crew are Peter, the stills photographer, and Joe, the wardrobe supervisor. We ask them if they will kiss each other and surprisingly quickly they agree.
