Specification
of Brazil Screenplay Bai Zhiyu Zoe 14111736d
Typesetting Rules
examples Organisation people –
9:00am – 12:30pm
tax-payers Buttle official
Always use British spelling and style rules. Use en dash to indicate asides with word spaces precede and follow the dash. Ranges should be indicated with en dashes with thin spaces before and after the dash Compounds also use en dashes. Character names within scene should be written with initial capitals.
K … Turner
Ellipses with word spaces before and after the ellipses, with thin spaces between the full points.
Mrs Buttle
Contractions do not have full points.
Benjamin G
Abbreviated names should be written with only a word space between initial letters.
32
Brazil
Part 1
Format
33
Size
136.5 Ă— 196.8 mm (portrait)
Margins
top and bottom = 18mm outside = 25mm inside = 15mm
Binding
sewn binding
Colour
black and white
Baseline grid
increament = 12pt start 0pt at top of page
Running head Page numbers Book & character titles
align to spine align to outside margin align to baseline grid Scala Sans Regular 8/12pt Scala Sans Italics 8/12pt em space before or after
Cover page
contemporary cinema classics
Brazil Terry Gilliam Tom Stoppard Charles McKeown
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Half title page
Brazil
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Title page
contemporary cinema classics
Brazil Terry Gilliam Tom Stoppard Charles McKeown
Working Title Press
paragraph style General align to baseline grid flush right align to outside margin Series title (base on General paragraph style) space before 5p Publisher (base on General paragraph style) space before 23p Scala Sans Regular 10/12pt character style Book title Scala Sans Bold 24/36pt Authors Scala Sans Regular 10/12pt
Credit page
paragraph style Credits align to baseline grid first baseline = 16p flush left align to outside margin space after 12pt Palatino Linotype Regular 8/12pt Copyright Š 2014 Terry Gilliam, Tom Stoppard, Charles McKoewn All rights reserved. This book may not be reproduced in whole or in part, in any form without the express written permission of the publisher except for the use of brief quotations in a book review. First published in paperback in 2015 ISBN 978-0-300-15209-1 Working Titles Press 12A, 123 King’s Road North Point Hong Kong www.workingtitlespress.com For information about this and other Working Titles Press publications please contact: enquiries@workingtitlespress.com Set in Palatino Linotype designed by Hermann Zapf Series typography by Hermann Zapf Printed in Hong Kong
Contents page Contents
Introduction 6 Plot summary 12 Cast 15 Part 1 scenes 1–56 19 Part 2 scenes 57–80 85 Part 3 scenes 81–155 185
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8
Preliminary page
Brazil
Introduction
Writing Gilliam developed the story and wrote the first draft of the screenplay with Charles Alverson, who was paid for his work but was ultimately uncredited in the final film. For nearly 20 years, Gilliam denied that Alverson had made any material contribution to the script. But then when the first draft was published and original in-progress documents emerged from Alverson’s files, Gilliam begrudgingly changed his story. This was a bit late for either credit on the film or a listing on the failed Oscar nomination for Alverson. He has said that he would not have minded the Oscar nomination, even though he didn’t think much of the script or the finished film. Gilliam, McKeown, and Stoppard collaborated on further drafts. Brazil was developed under the titles The Ministry and 1984½, the latter a nod not only to Orwell’s original 1984 but also to 8½ by Federico Fellini, a director whom Gilliam often cites as one of the defining influences on his visual style when directing. During the film’s production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System – So Far, and So That’s Why the Bourgeoisie Sucks, before settling with Brazil relating to the name of its escapist signature tune. Gilliam sometimes refers to this film as the second in his ‘Trilogy of Imagination’ films, starting with Time Bandits (1981) and ending with The Adventures of Baron Munchausen (1989). All are about the ‘craziness of our awkwardly ordered society and the desire to escape it through whatever means possible.’ All three movies focus on these struggles and attempts to escape them through
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Preliminary page
Introduction 11
activities. In Sam’s home, the ducts are not visible initially, but make their presence felt as an undertone when they break down. In the Department of Records, the ducts are a visible part of the environment, but above everyone’s heads. Finally, in the dreaded Department of Information Retrieval, there are very few ducts. The reference to form 27b-6, without which no work can be done by repairmen of the Department of Public Works, is a reference to George Orwell, who lived at Canonbury Square Apartment 27b, Floor 6, while writing parts of Nineteen Eighty-Four.
Music Ary Barroso’s 1939 song Aquarela do Brasil (Watercolor of Brazil, often simply Brazil) in a version specifically performed by Geoff Muldaur is the leitmotif of the movie, although other background music is also used. Michael Kamen, who scored the film, originally recorded Brazil with vocals by Kate Bush. This recording was not included in the actual film or the original soundtrack release; however, it has been subsequently released on re-pressings of the soundtrack.
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Preliminary page
Cast 15
Cast
Jonathan Pryce as Sam Lowry. Pryce has described the role as the highlight of his career, along with that of Lytton Strachey in Carrington.
Kim Greist as Jill Layton. Gilliam’s first choice for the part was
Ellen Barkin; also considered were Jamie Lee Curtis, Rebecca De Mornay, Rae Dawn Chong, Joanna Pacuła, Rosanna Arquette, Kelly McGillis, and Madonna. Gilliam was reportedly dissatisfied with Greist’s performance, and chose to cut or edit some of her scenes as a result.
Michael Palin as Jack Lint. Robert De Niro read the script and
expressed interest in the role, but Gilliam had already promised the part to Palin, a friend and regular collaborator. Palin described the character as ‘someone who was everything that Jonathan Pryce’s character wasn’t: he’s stable, he had a family, he was settled, comfortable, hard-working, charming, sociable – and utterly and totally unscrupulous. That was the way we felt we could bring out the evil in Jack Lint.’
Robert De Niro as Archibald ‘Harry’ Tuttle. De Niro still wanted a part in the film after being denied that of Jack Lint, so Gilliam offered him the smaller role of Tuttle.
Katherine Helmond as Mrs Ida Lowry. According to Helmond,
Gilliam called her and said, ‘I have a part for you, and I want you to come over and do it, but you’re not going to look very nice in it.’ The make-up was applied by Gilliam’s wife, Maggie. During production, Helmond spent ten hours a day with a mask
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24
Preliminary page
Brazil
17 Buttle’s flat
night int.
The Buttle family as before. Mrs Buttle is closing the book.
Mrs Buttle There, that’s enough for tonight. He won’t come X’mas Eve if you don’t get plenty of sleep. Girl Buttle Father Christmas can’t come if we haven’t got a chimney. Mrs Buttle You’ll see.
The Girl exchanges goodnight kisses with her parents and leaves the room.
Girl Buttle How will he get down from upstairs? Boy Buttle It’s a secret. We follow Girl Buttle out of the sitting room into …
18 Hallway and children’s bedroom
night int.
Girl Buttle enters her bedroom. There is little or no light there, and she sees a bulky figure apparently lowering himself into the room from the direction of the ceiling.
Girl Buttle (unalarmed) You’ve come … As she moves, the light from the hallway shows us the figure of what looks like a commando on a night raid, slowly sliding down pole in he middle of the room. The pole at the top end disappears through a hole in the ceiling. Things become immediately clearer.
19 Buttle’s sitting-room night int. Crash! It’s a raid! Battle-dressed security troops smash through the door. Another one, swings from a rope, kicks in the window
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26
Preliminary page
Brazil
the detainee will be debited without further notice through central banking procedures without prejudice until and unless at such a time when reimbursement procedures may be instituted by you or third parties on completion of a re-imbursement form rb/cz/907/x … … and more of the same, most of which is part of the audible wall paper while the chaos reigns. As the front door slams behind the captive relative peace returns, broken by Mrs Buttle’s anguished sobbing.
Official (proffering a pen and a thick book of pink receipts to Mrs Buttle) Sign here please.
Mrs Buttle (dazed. She signs weakly) What? where have you taken him?
Official (taking the book) Thank you. (he hands her another
book, this one of blue receipts) (indicating place to sign) Same again please. Just there. (checking first book of receipts) Press harder his time. Good. Mrs Buttle (signing again) What is this all about? Official (tearing out sheet from pink book) That’s your receipt for your husband. (taking blue book from her) Thank you. And this is my receipt for your receipt. (he turns to leave along with troopers) Jill’s shocked face appears looking down through the hole in the ceiling. The faces of the workmen Bill and Charlie also appear, above and behind her.
Jill Mrs Buttle, are you alright? The helmeted security troops in Buttle’s flat drop to defensive positions and swing their machine guns up towards the hole in the ceiling. All three faces retreat.
Texts, small
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