Word: robs
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Dates: during 2000-2009
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...director Rob Marshall, whose first big film was the 2002 musical Chicago, has made this fairy tale into an emotionally sumptuous love story. This intimate epic spans almost two decades, but its script, by Robin Swicord and Doug Wright, never hurries past the telling biographical detail of its four main characters. Nor does the movie's visual splendor ever obscure the furtive, assertive heart beating under the kimono. It's still early in the season of Oscar contenders, but Geisha has a shot to join Chicago as a Best Picture champ...
...available," having died in 1991. Other directors expressed interest, but none stuck. Then, in 2002, Fisher and her producing partner Douglas Wick saw Chicago and figured they had their man. "Geishas are trained much like dancers, and as a choreographer and a former dancer who understands disciplined training, Rob had a natural affinity for their life," says Wick. He and Fisher pursued the director as one would a geisha--sending him bottles of sake, antique prints. "I tried to put the gifts away," says Marshall, "but I couldn't. They hooked...
Spielberg doesn't question the choice of Marshall either. "When I saw Rob's version of Geisha," he says, "I realized that he was a much better choice than me. I like that it was like Kabuki theater. The pauses, the looks of the characters, were all little moments of directorial authorship. The close-ups of the hands in pouring the tea. The shots of the geishas' kimono trains wriggling like the tail of a fish through a stream. Rob took the liquid metaphor of the water in Sayuri's eyes and created a river of images. It seemed...
...voice, that "hour after hour, as people worked around her, lighting and moving cable, she stood there weeping, because she couldn't leave that feeling. I've never seen anything like that in my life." After the actress filmed her last scene, she couldn't let go. "When Rob Marshall announced that I had wrapped my role and was leaving," she says, "all of a sudden I just didn't know where to go." After the wrap she asked Marshall to go through the rooms of the geisha house set with her. They held hands, walking from room to room...
Zhang says she too cried every day: "Playing her was my most emotional role." And Yeoh, in mock exasperation, says, "Everyone else got to cry. But Mameha couldn't. She was always in control. The mask was maintained the whole time. All my crying was off camera. After Rob would cut the scene, I'd have to go to the side to let it out." She credits Marshall with guiding the actors into a true ensemble. "He is very much like Mameha," she says. "He is playing a chess game. He knows all the moves and the countermoves. He planned...