TRISTRAM SHANDY: A COCK AND BULL STORY The New Film from Director Michael Winterbottom Opens January 27, 2006
Michael Winterbottom’s TRISTRAM SHANDY: A COCK AND BULL STORY is a rollicking, inventive adaptation of the classic 18th Century comic novel “The Life and Opinions of Tristram Shandy, Gentleman” by Laurence Sterne. A well-known though not necessarily widely read masterpiece, “The Life and Opinions of Tristram Shandy, Gentleman” is a bawdy romp that plays with the techniques and conventions of the novel; its autobiographical speaker is prone to narrative excursions, direct addresses to the reader, and other eccentricities that make his tale anything but linear.
Winterbottom (IN THIS WORLD, 24 HOUR PARTY PEOPLE) multiplies Sterne’s conceit to tell two stories: that of an 18th Century Englishman, Tristram Shandy (Steve Coogan); and that of the hapless 21st Century filmmakers who are adapting the notoriously unfilmable work, “The Life and Opinions of Tristram Shandy, Gentleman,” with “Steve Coogan” (Coogan) in the title role. Slyly acknowledging public fascination with the movie industry, TRISTRAM SHANDY: A COCK AND BULL STORY strolls onto a modern film set, complete with insecure actors, scandal-hunting reporters, and balky investors. As it follows the fortunes of two families - one blood, one professional – the film makes us privy to calamities, crises, and flirtations that transcend centuries.
With TRISTRAM SHANDY: A COCK AND BULL STORY, Michael Winterbottom again affirms his protean talent as he delivers a zesty celebration of storytelling and the life that spills out of it. A proper Englishman gentleman, Tristram Shandy strides from his ancestral home, Shandy Hall, to introduce himself. Politely disagreeing with the notion that one cannot fool around with the details of one’s autobiography, Tristram launches into his life story at the beginning: with his birth.
Our narrator is soon distracted by the sight of his Uncle Toby (Rob Brydon) and his friend Corporal Trim (Raymond Waring) at work on their scale model reproduction of the 1695 siege at Namur, where Toby sustained embarrassing injuries. Of course, no account of Tristram’s birth would be complete without a discussion of his father, Walter Shandy (Coogan), an intellectually inclined, determinedly modern man who would attend to every detail of his son’s existence, including the means by which he is delivered.
After continually skipping forwards and backwards in time with tales of his family and the circumstances surrounding his entry into this world, Tristram at last arrives at the dramatic moment of his birth. Dr. Slop (Dylan Moran) has his remarkable (if alarming) new medical instrument, the forceps, at the ready; the beautiful mother-to-be, Elizabeth Shandy (Keeley Hawes), musters her remaining energy, encouraged by her devoted servant Susannah (Shirley Henderson). Elizabeth’s screams fill the room … and, pull back: The director, Mark (Jeremy Northam) signals that he is satisfied with the scene. Filming has ended for the day and the crew begins clearing the set. Steve Coogan (Steve Coogan) who portrays both Walter and Tristram Shandy, consults briefly with the director. The actor is worried that his Walter’s devotion to his son is not fully evident in the birth scene, but that is not his only concern. Shoes are also on Steve’s mind; he believes that the footwear that he and the actor Rob Brydon (Rob Brydon) have been given does not properly reflect the interpersonal dynamics of their respective characters, Walter and his deferential younger brother, Toby.
The chaos of filmmaking continues well after the cameras have retired for the day. Steve’s girlfriend Jenny (Kelly Macdonald) has arrived with their six-month old son for a muchanticipated reunion. But the couple’s every private moment is invariably interrupted by a professional demand, whether testing a prop womb or watching rushes. On top of that, a journalist is chasing the actor about a scandalous story, and his agent has arrived with a load of scripts for him to read. The film’s critical battle sequence looks rather anemic, and the financiers are getting snippy.
Meanwhile, Steve’s actorly insecurities are growing by the minute, and he frets variously about wardrobe, his character’s centrality, and the star quality of his nose. When a romance involving Rob Brydon’s character is restored to the script - and an enthusiastic Gillian Anderson immediately signs on as the love interest - it looks like Steve’s worst fears about losing screen time are about to come true. A nightmare sends the actor roaming the grounds of the hotel, where a wild party is in full swing. Liquor is flowing and extras in historically accurate battle dress are cavorting with fireworks. In the midst of it all is Jennie (Naomie Harris), the beautiful production runner who has been taking care of Steve during filming. But let’s not get ahead of our story …
Picturehouse presents TRISTRAM SHANDY: A COCK AND BULL STORY. Starring Steve Coogan, Rob Brydon, Raymond Waring, Dylan Moran, Keeley Hawes, Gillian Anderson, Naomie Harris, Kelly Macdonald, Jeremy Northam, James Fleet, Ian Hart, Shirley Henderson, and Stephen Fry. Directed by Michael Winterbottom. Written by Martin Hardy. Produced by Andrew Eaton. Executive producers Kate Ogborn, Julia Blackman, Jeff Abberley, David M. Thompson, Tracey Scoffield, and Henry Normal. The co-producers are Anita Overland and Wendy Brazington. The director of photography is Marcel Zyskind, the production designer John Paul Kelly, the editor Peter Christelis. The hair and make-up designer is Marese Langan, the costume designer Charlotte Walter. Sound by Stuart Wilson and casting by Wendy Brazington.
Winterbottom (IN THIS WORLD, 24 HOUR PARTY PEOPLE) multiplies Sterne’s conceit to tell two stories: that of an 18th Century Englishman, Tristram Shandy (Steve Coogan); and that of the hapless 21st Century filmmakers who are adapting the notoriously unfilmable work, “The Life and Opinions of Tristram Shandy, Gentleman,” with “Steve Coogan” (Coogan) in the title role. Slyly acknowledging public fascination with the movie industry, TRISTRAM SHANDY: A COCK AND BULL STORY strolls onto a modern film set, complete with insecure actors, scandal-hunting reporters, and balky investors. As it follows the fortunes of two families - one blood, one professional – the film makes us privy to calamities, crises, and flirtations that transcend centuries.
With TRISTRAM SHANDY: A COCK AND BULL STORY, Michael Winterbottom again affirms his protean talent as he delivers a zesty celebration of storytelling and the life that spills out of it. A proper Englishman gentleman, Tristram Shandy strides from his ancestral home, Shandy Hall, to introduce himself. Politely disagreeing with the notion that one cannot fool around with the details of one’s autobiography, Tristram launches into his life story at the beginning: with his birth.
Our narrator is soon distracted by the sight of his Uncle Toby (Rob Brydon) and his friend Corporal Trim (Raymond Waring) at work on their scale model reproduction of the 1695 siege at Namur, where Toby sustained embarrassing injuries. Of course, no account of Tristram’s birth would be complete without a discussion of his father, Walter Shandy (Coogan), an intellectually inclined, determinedly modern man who would attend to every detail of his son’s existence, including the means by which he is delivered.
After continually skipping forwards and backwards in time with tales of his family and the circumstances surrounding his entry into this world, Tristram at last arrives at the dramatic moment of his birth. Dr. Slop (Dylan Moran) has his remarkable (if alarming) new medical instrument, the forceps, at the ready; the beautiful mother-to-be, Elizabeth Shandy (Keeley Hawes), musters her remaining energy, encouraged by her devoted servant Susannah (Shirley Henderson). Elizabeth’s screams fill the room … and, pull back: The director, Mark (Jeremy Northam) signals that he is satisfied with the scene. Filming has ended for the day and the crew begins clearing the set. Steve Coogan (Steve Coogan) who portrays both Walter and Tristram Shandy, consults briefly with the director. The actor is worried that his Walter’s devotion to his son is not fully evident in the birth scene, but that is not his only concern. Shoes are also on Steve’s mind; he believes that the footwear that he and the actor Rob Brydon (Rob Brydon) have been given does not properly reflect the interpersonal dynamics of their respective characters, Walter and his deferential younger brother, Toby.
The chaos of filmmaking continues well after the cameras have retired for the day. Steve’s girlfriend Jenny (Kelly Macdonald) has arrived with their six-month old son for a muchanticipated reunion. But the couple’s every private moment is invariably interrupted by a professional demand, whether testing a prop womb or watching rushes. On top of that, a journalist is chasing the actor about a scandalous story, and his agent has arrived with a load of scripts for him to read. The film’s critical battle sequence looks rather anemic, and the financiers are getting snippy.
Meanwhile, Steve’s actorly insecurities are growing by the minute, and he frets variously about wardrobe, his character’s centrality, and the star quality of his nose. When a romance involving Rob Brydon’s character is restored to the script - and an enthusiastic Gillian Anderson immediately signs on as the love interest - it looks like Steve’s worst fears about losing screen time are about to come true. A nightmare sends the actor roaming the grounds of the hotel, where a wild party is in full swing. Liquor is flowing and extras in historically accurate battle dress are cavorting with fireworks. In the midst of it all is Jennie (Naomie Harris), the beautiful production runner who has been taking care of Steve during filming. But let’s not get ahead of our story …
Picturehouse presents TRISTRAM SHANDY: A COCK AND BULL STORY. Starring Steve Coogan, Rob Brydon, Raymond Waring, Dylan Moran, Keeley Hawes, Gillian Anderson, Naomie Harris, Kelly Macdonald, Jeremy Northam, James Fleet, Ian Hart, Shirley Henderson, and Stephen Fry. Directed by Michael Winterbottom. Written by Martin Hardy. Produced by Andrew Eaton. Executive producers Kate Ogborn, Julia Blackman, Jeff Abberley, David M. Thompson, Tracey Scoffield, and Henry Normal. The co-producers are Anita Overland and Wendy Brazington. The director of photography is Marcel Zyskind, the production designer John Paul Kelly, the editor Peter Christelis. The hair and make-up designer is Marese Langan, the costume designer Charlotte Walter. Sound by Stuart Wilson and casting by Wendy Brazington.
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