Dracula - Adaptations

Dracula

Dracula has been the basis for countless films and plays. Three of the most famous are Nosferatu (1922), Dracula (1931), and Bram Stoker's Dracula (1992). Nosferatu, a film directed by the German director F.W. Murnau, was produced while Stoker's widow was alive, and the filmmakers were forced to change the setting and the characters' names for copyright reasons. The vampire in Nosferatu is called Count Orlok rather than Count Dracula.
The character of Count Dracula has remained popular over the years, and many films have used the character as a villain, while others have named him in their titles, such as Dracula's Daughter, Brides of Dracula, and Zoltan, Hound of Dracula. An estimated 160 films (as of 2004) feature Dracula in a major role, a number second only to Sherlock Holmes. The number of films that include a reference to Dracula may reach as high as 649, according to the Internet Movie Database.
Most tellings of the Dracula story include the Count along with the rest of the "cast": Jonathan and Mina Harker, Van Helsing, and Renfield. (Notably, the novel roles of characters Jonathan Harker and Renfield are more than occasionally reversed or combined, as are the roles of Mina and Lucy. Quincey Morris is usually omitted entirely, as is Arthur Holmwood.)

Dracula - Themes

Dracula

Dracula is an epistolary novel, written as a collection of diary entries, telegrams, and letters from the characters, as well as fictional clippings from the Whitby and London newspapers and phonograph cylinders. This literary style, made most famous by one of the most popular novels of the 19th century, The Woman in White (1860), was considered rather old-fashioned by the time of the publication of Dracula, but it adds a sense of realism and provides the reader with the perspective of most of the major characters. By use of the epistolary structure, Stoker, without employing either an omniscient narrator or any awkward framing device, maximizes suspense by avoiding any implicit promise to the reader that any first-person narrator must survive all the story's perils.
Although some critics find the novel somewhat crude and sensational, it nevertheless retains its psychological power, and the sexual longings underlying the vampire attacks are manifest. As one critic wrote:
What has become clearer and clearer, particularly in the fin de siècle years of the twentieth century, is that the novel's power has its source in the sexual implications of the blood exchange between the vampire and his victims...Dracula has embedded in it a very disturbing psychosexual allegory whose meaning I am not sure Stoker entirely understood: that there is a demonic force at work in the world whose intent is to eroticize women. In Dracula we see how that force transforms Lucy Westenra, a beautiful nineteen-year-old virgin, into a shameless slut.[12]
Dracula may be viewed as a novel about the struggle between tradition and modernity at the fin de siècle. Throughout, there are various references to changing gender roles; Mina Harker can be seen as a thoroughly modern woman, using such modern technologies as the typewriter. She also displays some characteristics of the New Woman through her rejection of deference to male superiority and her economic independence. However, Mina still embodies a traditional gender role, as seen in her feminine and maternal nature and her occupation as as an assistant schoolmistress.
Stoker's novel deals in general with the conflict between the world of the past — full of folklore, legend, and religious piety — and the emerging modern world of technology, positivism, and secularism.
Van Helsing epitomizes this struggle because he uses, at the time, extremely modern technologies like blood transfusions; but he is not so modern as to eschew the idea that a demonic being could be causing Lucy's illness: he spreads garlic around the sashes and doors of her room and makes her wear a garlic flower necklace. After Lucy's death, he receives an indulgence from a Catholic cleric to use the Eucharist (held by the Church to be trans-substantiated into the body and blood of Jesus) in his fight against Dracula. In trying to bridge the rational/superstitious conflict within the story, he cites new sciences, such as hypnotism, that were only recently considered magical. He also quotes (without attribution) the American psychologist William James, whose writings on the power of belief become the only way to deal with this conflict.
No character in the novel advocates a rejection of science in favour of either religion or superstition. Van Helsing receives the admiration of the other characters and succeeds in defeating Dracula by dint of a combination of encyclopedic knowledge and "open-mindedness." Late in the novel, as Dr. Seward comes to embrace Van Helsing's open-mindedness, he writes, "In an age when the existence of ptomaines is a mystery we should not wonder at anything!" For the characters, and presumably for the author, science opens the possibility of shockingly unfamiliar phenomena. If the novel sounds a cautionary note, it merely warns against the presumption that established science as yet offers a complete world-view. Within Stoker's fictional universe, (correct) superstitious beliefs have an empirical basis and promise to yield to scientific inquiry.
Jonathan Harker's character displays the problems of dwelling in a strictly rational modern world. Visiting Count Dracula in Eastern Europe, Jonathan scoffs at the peasants who tell him to delay his visit until after Saint George's feast day. As a solicitor, Jonathan is concerned “with facts — bare meagre facts, verified by books and figures, and of which there can be no doubt”. All of Jonathan’s rationality weakens him to what he witnesses at Castle Dracula. For example, the first time Jonathan witnesses Dracula crawling down the face of the castle headfirst, he is in complete disbelief. Not believing what he sees, he attempts to explain what he saw as a trick of the moonlight.
The characters of Dracula use modern technology and rationalism to defeat the Count. For example, during their pursuit of the vampire, they use railroads and steamships, not to mention the telegraph (and a telephone is even used on their behalf at one point), to keep a step ahead of him (in contrast, Dracula escapes in a sailing ship). Van Helsing uses hypnotism to pinpoint Dracula's location. Mina even employs criminology to anticipate Dracula's actions and cites both Cesare Lombroso and Max Nordau, who at that time were considered experts in this field.
A number of scholars have noted the theme of a 'barbarian' prince attempting to usurp British society as being an example of the invasion literature which was popular at the time. Author Kim Newman characterized Dracula as being the story of "a one-man invasion" and drew attention to Van Helsing's claim that Dracula's goal was to become "the father or furthurer of a new order of beings, whose road must lead through Death, not Life"

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Dracula - Historical and geographical references

Dracula

Although Dracula is a work of fiction, it does contain some historical references. The historical connections with the novel and how much Stoker knew about the history are a matter of conjecture and debate.
Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, the supposed connections between the historical Transylvanian-born Vlad III Dracula of Wallachia and Bram Stoker's fictional Dracula attracted popular attention. During his main reign (1456–1462), "Vlad the Impaler" is said to have killed from 20,000 to 40,000 European civilians (political rivals, criminals, and anyone else he considered "useless to humanity"), mainly by using his favourite method of impaling them on a sharp pole. The main sources dealing with these events are records by Saxon settlers in neighboring Transylvania, who had frequent clashes with Vlad III and may have been biased. Vlad III is revered as a folk hero by Romanians for driving off the invading Turks. His impaled victims are said to have included as many as 100,000 Turkish Muslims.
Historically, the name "Dracul" is derived from a secret fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary, Croatia and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks. From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol. The name Dracula means "Son of Dracul".
Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection. They argue that Stoker in fact knew little of the historic Vlad III except for his nickname. There are sections in the novel where Dracula refers to his own background, and these speeches show that Stoker had some knowledge of Romanian history. Yet Stoker includes no details about Vlad III's reign and does not mention his use of impalement. Given Stoker's use of historical background to make his novel more horrific, it seems unlikely he would have failed to mention that his villain had impaled thousands of people. It seems that Stoker either did not know much about the historic Vlad III, or did not intend his character Dracula to be the same person as Vlad III.
Vlad III was an ethnic Vlach. In the novel, Dracula claims to be a Székely: "We Szekelys have a right to be proud..."
The Dracula legend as he created it and as it has been portrayed in films and television shows may be a compound of various influences. Many of Stoker's biographers and literary critics have found strong similarities to the earlier Irish writer Sheridan le Fanu's classic of the vampire genre, Carmilla. In writing Dracula, Stoker may also have drawn on stories about the sídhe — some of which feature blood-drinking women.
It has been suggested that Stoker was influenced by the history of Countess Elizabeth Bathory, who was born in the Kingdom of Hungary. Bathory is known to have tortured and killed anywhere between 36 and 700 young women over a period of many years, and it was commonly believed that she committed these crimes in order to bathe in or drink their blood, believing that this preserved her youth. No credible evidence of blood-drinking or other blood crimes in the Bathory case has ever been found, however the stories and influence may explain why Dracula appeared younger after feeding.[10]
Some have claimed the castle of Count Dracula was inspired by Slains Castle, at which Bram Stoker was a guest of the 19th Earl of Erroll. However, since as Stoker visited the castle in 1895—five years after work on Dracula had begun—there is unlikely to be much connection. Many of the scenes in Whitby and London are based on real places that Stoker frequently visited, although in some cases he distorts the geography for the sake of the story.
It has been suggested that Stoker received much historical information from Ármin Vámbéry, a Hungarian professor he met at least twice. Miller argues that "there is nothing to indicate that the conversation included Vlad, vampires, or even Transylvania" and that, "furthermore, there is no record of any other correspondence between Stoker and Vámbéry, nor is Vámbéry mentioned in Stoker's notes for Dracula.

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Dracula - Reaction

Dracula

When it was first published, in 1897, Dracula was not an immediate bestseller, although reviewers were unstinting in their praise. The contemporary Daily Mail ranked Stoker's powers above those of Mary Shelley and Edgar Allan Poe as well as Emily Bronte's Wuthering Heights. [5]
According to writers Nina Auerbach and David Skal, the novel is more important for modern readers than contemporary Victorian readers, who, they assert, enjoyed it as a good adventure story; and allege that it reached its iconic legend status only later in the 20th century.[6]This assertion is contradicted, however, by the actual statements of Victorian readers and reviewers themselves who described Dracula as "the sensation of the season" and "the most blood-curdling novel of the paralysed century".[7] The Daily Mail review of June 1, 1897 proclaimed it a classic of Gothic horror:
"In seeking a parallel to this weird, powerful, and horrorful story our mind reverts to such tales as The Mysteries of Udolpho, Frankenstein, The Fall of the House of Usher ... but Dracula is even more appalling in its gloomy fascination than any one of these."[8]
Other reviewers compared it favorably to the novels of Wilkie Collins and similar good reviews appeared when the book was published in the USA in 1899

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Dracula - Background

Dracula

Between 1879 and 1889 Stoker was business manager for the world-famous Lyceum Theatre in London, where he supplemented his income by writing a large number of sensational novels, his most famous being the vampire tale Dracula published on May 18, 1897. Parts of it are set around the town of Whitby, where he was living at the time.

Before writing Dracula, Stoker spent seven years researching European folklore and stories of vampires, being most influenced by Emily Gerard's 1885 essay "Transylvania Superstitions", and an evening spent talking about Balkan superstitions with Arminius Vambery.
The Dead Un-Dead was one of Stoker's original titles for Dracula, and up until a few weeks before publication, the manuscript was titled simply The Un-Dead. The name of Stoker's count was originally going to be Count Vampyre, but while doing research, Stoker became intrigued by the word dracul. Dracul is derived from the word draco in the Megleno-Romanian language, meaning devil (originally dragon). There was also a historic figure known as Vlad III Dracula, but whether Stoker based his character on him remains debated and is now considered unlikely.
The novel has been in the public domain in the United States since its original publication because Stoker failed to follow proper copyright procedure. In England and other countries following the Berne Convention on copyrights, however, the novel was under copyright until April 1962, fifty years after Stoker's death.[3] When the unauthorized film adaptation was released in 1922, the popularity of the novel increased considerably, owing to the controversy caused when Stoker's widow tried to have the film banned.

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Dracula - Plot summary

Darcula

The novel is mainly composed of journal entries and letters written by several narrators who are also the novel's main protagonists; Stoker supplemented the story with occasional newspaper clippings to relate events not directly witnessed by the story's characters. The tale begins with Jonathan Harker, a newly qualified English solicitor, journeying by train and carriage from England to Count Dracula's crumbling, remote castle (situated in the Carpathian Mountains on the border of Transylvania and Moldavia). The purpose of his mission is to provide legal support to Dracula for a real estate transaction overseen by Harker's employer, Peter Hawkins, of Exeter in England. At first seduced by Dracula's gracious manner, Harker soon discovers that he has become a prisoner in the castle. He also begins to see disquieting facets of Dracula's nocturnal life. One night while searching for a way out of the castle, and against Dracula's strict admonition not to venture outside his room at night, Harker falls under the spell of three wanton female vampires, the Brides of Dracula. He is saved at the last second by the Count, however, who ostensibly wants to keep Harker alive just long enough because his legal advice and teachings about England and London (Dracula's planned travel destination was to be among the "teeming millions") are needed by Dracula. Harker barely escapes from the castle with his life.
Not long afterward, a Russian ship, the Demeter, having weighed anchor at Varna, runs aground on the shores of Whitby, England, during a fierce tempest. All of the crew are missing and presumed dead, and only one body is found, that of the captain tied to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. These events led to the gradual disappearance of the entire crew apparently owing to a malevolent presence on board the ill-fated ship. An animal described as a large dog is seen on the ship leaping ashore. The ship's cargo is described as silver sand and boxes of "mould" or earth from Transylvania.
Soon Dracula is menacing Harker's devoted fiancée, Wilhelmina "Mina" Murray, and her vivacious friend, Lucy Westenra. Lucy receives three marriage proposals in one day, from an asylum psychiatrist, Dr. John Seward; an American, Quincey Morris; and the Hon. Arthur Holmwood (later Lord Godalming). Lucy accepts Holmwood's proposal while turning down Seward and Morris, but all remain friends. There is a notable encounter between Dracula and Seward's patient Renfield, an insane man who means to consume insects, spiders, birds, and other creatures — in ascending order of size — in order to absorb their "life force". Renfield acts as a kind of motion sensor, detecting Dracula's proximity and supplying clues accordingly.
Lucy begins to waste away suspiciously. All her suitors fret, and Seward calls in his old teacher, Professor Abraham Van Helsing from Amsterdam. Van Helsing immediately determines the cause of Lucy's condition but refuses to disclose it, knowing that Seward's faith in him will be shaken if he starts to speak of vampires. Van Helsing tries multiple blood transfusions, but they are clearly losing ground. On a night when Van Helsing must return to Amsterdam (and his message to Seward asking him to watch the Westenra household is accidentally sent to the wrong address), Lucy and her mother are attacked by a wolf. Mrs Westenra, who has a heart condition, dies of fright, and Lucy apparently dies soon after.
Lucy is buried, but soon afterward the newspapers report children being stalked in the night by a "bloofer lady" (as they describe it), i.e. "beautiful lady"[1]. Van Helsing, knowing that this means Lucy has become a vampire, confides in Seward, Lord Godalming, and Morris. The suitors and Van Helsing track her down, and after a disturbing confrontation between her vampiric self and Arthur, they stake her heart, behead her, and fill the mouth with garlic.
Around the same time, Jonathan Harker arrives home from recuperation in Budapest (where Mina joined and married him after his escape from the castle); he and Mina also join the coalition, who turn their attentions to dealing with Dracula.
After Dracula learns of Van Helsing and the others' plot against him, he takes revenge by visiting — and biting — Mina at least three times. Dracula also feeds Mina his blood, creating a spiritual bond between them to control her. The only way to forestall this is to kill Dracula first. Mina slowly succumbs to the blood of the vampire that flows through her veins, switching back and forth from a state of consciousness to a state of semi-trance during which she is telepathically connected with Dracula. It is this connection that they start to use to deduce Dracula's movements. It is only possible to detect Dracula's surroundings when Mina is put under hypnosis by Van Helsing. This ability gradually gets weaker as the group makes their way to Dracula's castle.
Dracula flees back to his castle in Transylvania, followed by Van Helsing's group, who manage to track him down just before sundown and destroy[2] him by shearing "through the throat" and stabbing him in the heart with a Bowie knife. Dracula crumbles to dust, his spell is lifted and Mina is freed from the marks. Quincey Morris is killed in the final battle, stabbed by Gypsies who had been charged with returning Dracula to his castle; the survivors return to England.
The book closes with a note about Mina's and Jonathan's married life and the birth of their first-born son, whom they name Quincey in remembrance of their American friend

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Dracula - Introduction

Dracula

Dracula is an 1897 novel by Irish author Bram Stoker, featuring as its primary antagonist the vampire Count Dracula.
Dracula has been attributed to many literary genres including vampire literature, horror fiction, the gothic novel and invasion literature. Structurally it is an epistolary novel, that is, told as a series of diary entries and letters. Literary critics have examined many themes in the novel, such as the role of women in Victorian culture, conventional and repressed sexuality, immigration, colonialism, postcolonialism and folklore. Although Stoker did not invent the vampire, the novel's influence on the popularity of vampires has been singularly responsible for many theatrical and film interpretations throughout the 20th and 21st centuries.

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Guy Maddin's Dracula: Pages from a Virgin's Diary.(the making of a dance film)

Guy Maddin was a horror-movie buff as a kid. But Dracula was his least favourite of all the classics. In fact, he still finds most film versions of Dracula "boring." And as for filmed dance, well, he was clearly of the opinion that once dancers were reduced to eight centimetres in height on a television screen, this was just plain dull.
So what possessed the acclaimed Manitoba filmmaker to take the Royal Winnipeg Ballet's (RWB) version of Bram Stoker's Dracula and shoot it for broadcast on the CBC? Well, no doubt the director of such experimental and surreal films as Tales from the Gimli Hospital, Archangel and Twilight of the Ice Nymphs would never turn down a challenge. And as Maddin relates the journey to bring Dracula: Pages from a Virgin's Diary to the screen, it becomes clear that what the director relished most was the experimentation the project afforded him. Mark Godden's Dracula is a complex, three-act ballet, exploring the range of emotions of Dracula's victims and the dichotomy of good and evil through dance. Faced with the challenge of bringing ballet to the small screen, Madden tested out different shooting techniques and styles to accentuate the plot elements for television audiences, and learned to incorporate movement into his filmmaking in ways he had never done before.
Directing a dance film was never in Maddin's plans. It all began with a phone call from Winnipeg producer Vonnie Von Helmolt, asking him to see RWB's version of Brain Stoker's famous tale of the undead. She was convinced that the vibrant colours of Twilight of the Ice Nymphs and the gothic sensibility found in Maddin's previous work made him the perfect choice for the project. "On first viewing, I found the narrative slipping away from my rapt attention at times and I remember thinking even then that if I ever made a dance movie I would have to approach it differently than a choreographer would" recalls Maddin "Choreographers have a captive audience in theatre seats while on television you are dealing with itchy trigger fingers on the remote control
This concerned Maddin despite the fact that in his own work he has never tried to court a general audience with mainstream fare. I am an old war veteran of alienating audiences with opaque plots. I have spring many out of their seats in the past and I don't really want to do that anymore," he says. "I kept telling myself I better not do this film because I don't know anything about dance -- I wouldn't even know how to jazz this up for television viewers." To legitimize his concerns Maddin spoke to several dancers and choreographers about filmed dance, and they all echoed the same response: they did not like it at all. "So many people agreed that on television, something is lost, it's arid," he says. Convinced that dance did not translate to television, Maddin turned the project down.
Von Helmolt, persisted. She set up a meeting between Maddin and Godden the ballet's choreographer. The dancers then performed the ballet in its entirety for Maddin and fellow filmmaker and collaborator deco dawson, who partnered with Maddin on the award--winning short The Heart of the World They recorded the performance, with dawson on Super 8 and Maddin with a video camera. "Suddenly, I understood the motivation behind their performance because I had to move with them," recalls Maddin. "I recognized that deeply buried and at times right there as plain as the nose on my face - were plot elements of Bram Stoker's story that I had been unaware of. Suddenly the narrative came to life for me
Maddin was hooked. But in true Maddinesque form, it would not be a mere televised replication of a ballet danced on the stage. It would bear the artistic stamp of its director, with distinctive, beautifully bold cinematography, strong visuals, a signature "primitive," hallucinogenic style, fragmented cutting and dark thematic tone.
While he did watch all the classic film adaptations Maddin claims they were of no significant influence, beyond re-introducing the character of Renfield to the ballet after watching Todd Browning's 1931 version with Bela Lugosi and Dwight Fry as Renfield. "I love the way the character was played -- it was the most over the top performance," says Maddin. "So I stuck Renfield back in the story, gave a VHS of the Draclula to the dancer playing Renfield, and got him to watch it."
"My biggest influence was the work I did with deco on The Heart of the World," he says. Chosen in 2000 as the U.S. Society of Film Critics' top experimental film, The Heart of the World harkens back to the early black-and--white Russian style, telling the story of two brothers in love with a female scientist who predicts the world is about to suffer a fatal heart attack. The story is compressed in a lightening--paced six minutes, and brimming with bold imagery. "It was the first movie I made with a lot of energy in it and I wanted to capture the same kind of kinetic omph' factor on this one," explains Maddin. The style and tone of The Heart of the World makes an indelible print on Dracula, also shot on black and white to achieve a rich, dark feel; with stark, primal imagery and a fast-paced intensity set against the strains of the music of Gustav Mahler. The style of Dracula is reminiscent of a 1920s silent movie, with an eery modern touch achieved by computer enhanced graphics tinting certain elements such a s Dracula's eyes, the inside of his cape and a vampiress during her death throes in vivid red
There are many psychological intrepretations of Stoker's famous 1897 novel about the blood-sucking Transylvanian count. "I had a rigid single interpretation of Dracula," Madding says. "I am most comfortable looking at Dracula as a male possessiveness story." In Maddin's film, Dracula is not a literal figure. Rather, he is an external objectification of heterosexual male jealousy." As soon as women acknowledge lust, the men who care for, admire and desire them can't deal with this, and have to track down and expunge the source of this lust somehow, meanwhile hurting the women who have created the jealousy in them," he says. In Maddin's retelling, Dracula is an archertype of the sexual rival. He points out that movie version of Dracula all stylize the destruction of the undead women with a stake driven through the heart. In Stoker's novel the women were not only stabbed, but also had their hearts removed and heads cut off. "So she can no longer think about the other person, and her heart can no longer feel for him."
Maddin was also influenced by the xenophobia that he saw in Stoker's novel. "Dracula comes from Eastern Europe, where mysterious Slavic, capitalistic people come from; and the men that set out to capture him are concerned he might have stolen English money, as well as their women's hymens. It sure sounds to me like good old-fashioned Victorian England anti-Semitism," he says. Dracula, in effect, then, in Maddin's version is "the other," which our human nature both draws us to and repels us at the same time.
To capture the dance from different angles and perspectives and ensure more set-up shots, Maddin used three camera operators -- cinematographer Paul Suderman (Hey, Happy!) shooting on Super 16, with himself and dawson switching between Super 16 and Super 8. Maddin also bent some union rules and created the position of associate director for dawson. Envisioning a film that was "quick and primitive and fragmented in style," the cinematography team managed 100 set-up a day throughout the shoot. Instead of cumbersome dollies and tracks to move the cameras around the dancers, they reworked a high chair with a food tray, pushing dawson around the dancers to shoot among them, capturing their movement from various angles and perspectives. While the Super 16 was setting up, they would shoot close-ups of the dancers using the Super 8 camera, lit only by a 60-watt blub illuminated against a corkboard, creating dark pools of light against a shadowy background.
To clarify the narrative. Maddin added pantomime scenes not in the original ballet, most notably in the opening, to set up the story. Intertitles, as well as pantomimed preludes and interludes, reminiscent of silent films, provide plot details and dialogue. To keep viewers on their toes, he switches between intertitles, subtitles and surtitles. "It's not quite Pop-up Video, but they are packaged to be interesting." he laughs.
To ensure that viewers were held captive by the emotions of the characters and drawn to the momentum of the narrative. Maddin looked for opportunities to focus the camera on the dancers' faces, rather than their feet. When the music swelled and the choreography peaked. Maddin moved the camera in tightly on they faces as opposed to the intricate dance moves. "The dancers were great melodramatic facial performers, and by closing in I was trying in keep viewers in touch with their personalities," he says. Maddin admits that the did not always do honour to the choreography of the ballet, particularly in the editing room. "When it came down to what was best for the movie, that sometimes meant removing dance sections or showing them from the least flattering angle," he explains.
Despite a dubious beginning. Maddin remains enthusiastic about Dracula. "I loved the experience," he says. "I knew from the beginning that at worst I would learn a lot from doing this picture, which I did." Most importantly, working with dancers taught him about the importance of movement, and this will inform his future projects, he says. "I was always scared of movement in my films. I wasn't that experienced with blocking and I landed to get uncomfortable performances from actors when they had to mill about." He would also consider working with a choreographer on his next film - which won't be a dance film, by the way - to work with the actors in the blocking of the film to add a grace of movement for scenes. "When talkies frist came about, there were movie and dialogue directors, so I might be a director with a blocking director -- I'm not ashamed to hire people." he says. Maddin also plans to return to the three camera shoot in future projects, not only for additional coverage but to offer up different perspectives on a scene, as if various eyes are viewing the same event.
Would ever direct a dance film again? Maddin hasn't ruled it out." But next time I would like to choreograph from scratch, directly for film, as opposed to taking a dance from the stage and then hacking at it with a razor-sharp camera."

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