Posts Tagged ‘David Lipsky’
June 26, 2014 | by Zack Newick
The playwright Donald Margulies is at what he describes as a “delicious” point in his career. He’s written the screenplay for The End of the Tour, an adaptation of David Lipsky’s Although of Course You End Up Becoming Yourself that recently completed filming. His newest play, The Country House, opened June 3 in Los Angeles at the Geffen Playhouse, and begins New York previews September 9 at The Manhattan Theater Club’s Samuel J. Friedman Theater. It’s an “homage” to Chekhov, employing themes and images from Margulies’s favorites: Uncle Vanya, The Cherry Orchard, and The Seagull. It’s also his first play ostensibly about the theater itself. The play is an ‘off-stage comedy’ set during the Williamstown Theatre Festival, focusing on a family of actors who have returned to a familiar house in the Berkshires after the recent death of a beloved family member.
Margulies is the author of over a dozen plays, including The Model Apartment, Sight Unseen, and Dinner With Friends, which won the Pulitzer Prize for Drama in 2000. He lives in New Haven with his wife; he has a son at college in Minnesota. His workspace is a series of rooms on the third floor of his home, walled by books, with windows overlooking his abundant backyard. When we spoke, first in his “bill-paying” room and then over fat sandwiches in New York, he appeared energized by his career’s activity, as if even its description gave him inspiration. He is now at work on the book for a musical, an adaptation of Father of the Bride, which would be a first.
Has any of your writing for the screen begun as writing for the stage?
I’ve adapted three of my plays into screenplays—Sight Unseen, which has not been filmed, and Collected Stories and Dinner With Friends, both of which were produced for television—but I have never begun a play that I decided would be better served as a screenplay. In the case of my most recent screenplay, The End of the Tour, my long-time manager, David Kanter, sent me David Lipsky’s book, Although Of Course You End Up Becoming Yourself, with a note that said, “Take a look at this, there might be a play in it,” because the book is almost entirely dialogue, the transcription of a four-day conversation between Lipsky and David Foster Wallace. I started reading it and was excited because I thought it did lend itself to adaptation—not for the stage but for the screen. I saw its potential as something much more expansive than two guys sitting around talking—namely a road picture. I was intrigued by the idea of seeing this iconic figure on the American landscape. The End of the Tour is consistent with themes that have interested me as a dramatist for forty years, which is what no doubt attracted me to it. Read More »
May 1, 2014 | by Evan Kindley
David Foster Wallace, James Joyce, and the trouble with public image.
In 2010, just under two years after David Foster Wallace’s death, the journalist David Lipsky published Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, a memoir of transcripts from an interview he’d conducted with Wallace in 1996 for Rolling Stone. The book was well reviewed—it made the Times best-seller list—and late last year it was announced that it would become a film starring Jesse Eisenberg as Lipsky and Jason Segel as Wallace. The End of the Tour is already in postproduction and slated for release in late 2014, but last week, the Wallace Literary Trust issued a public statement making it “clear that they have no connection with, and neither endorse nor support” the film: “There is no circumstance under which the David Foster Wallace Literary Trust would have consented to the adaptation of this interview into a motion picture, and we do not consider it an homage.”
I was struck by similarities between this situation and the case of James Joyce and Samuel Roth, which began in 1926. In his recent book Without Copyrights: Piracy, Publishing, and the Public Domain, the scholar Robert Spoo devotes two chapters to Joyce’s desperate attempts to defend his intellectual property against Roth, an infamous American “booklegger” who reprinted the entire text of Ulysses, as well as large portions of Finnegans Wake, without permission. Roth’s actions, like those of the filmmakers of The End of the Tour, were not illegal: Joyce didn’t possess the U.S. copyright on his works, which were originally published in Europe and—after a brief window during which he could have established copyright by securing American publication—fell immediately into the U.S. public domain. Read More »