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the film Chevalier An in-depth look at the life of Joseph Bologne, Chevalier of Saint-Georges. Bologne was a prodigious fencer, violinist, and composer who was born to a 16-year-old enslaved woman and taken to France before rising at the court of Marie Antoinette. The story of Bologne is incredible, but much of it was lost to history after Napoleon Bonaparte tried to destroy Chevalier’s works. increase. Chevalierthe story of many important moments in the life of Joseph Bologne.
in the meantime Chevalier It’s Stephanie Robinson’s first foray into film, and she’s already established herself as an outstanding television writer and producer. Robinson’s first big step into the film and television industry Atlanta Before adding one of the best mockumentary TV shows ever, what we do in the shadows, on her resume.and ChevalierRobinson continues to demonstrate her ability to write characters and stories in ways that are both relatable and deeply connected.
Stephanie Robinson said screen rant About discovering Chevalier at a young age, the amount of work that went into making this film, and more.
Stephanie Robinson in Chevalier
Screen Rant: I first heard of Chevalier when I was a teenager. How did you first find out about him and what inspired you to write this story?
Stephanie Robinson: My mother gave me a book. She couldn’t tell me what the book was. She remembers reading the paragraph. To my recollection, it was like a little catchphrase all-encompassing enough to whet my appetite or tell me who this person was. was just his life.
I think it was John Adams [who] They said that Joseph Bologne was one of the most successful people in Europe, and it was true. This man was a master swordsman and a master horseman. [he] knew multiple languages, [and he] I was a little romantic. clearly, [he] He was gifted with violin, composition and opera. He popularized the quartet. Later in his life, [he] I went and became a revolutionary soldier.
This man lived twenty lives at once.he felt like [he was] It was a movie character, not real. But I thought more. A few years ago I was in an orchestra and played the cello. Combined with hands-on learning to play an instrument, I was taught the history of classical music and learned more about Mozart and Beethoven and their contributions. Joseph never participated in those conversations, so he felt it was someone else’s responsibility to tell me about this person, and he seemed a little weird, like nobody told me. I think I felt it.
Both you and Steven said they didn’t want to do a cradle-to-grave story, but the life of Joseph Bologne was so fascinating before and after the events of this movie. did you choose?
Stephanie Robinson: Given enough budget and time and resources, I would do the Joseph Limited series. It will last for the season. There are no limits. would be unlimited.
thoughts on his life [was] I want to access the story from a personal perspective. A lot of it is incredibly amazing, so I wanted to tell the story from a perspective that felt personal too. What stuck in my mind was, “Okay, this is someone who is very close to the monarchy, who is very close and friendly with Marie Antoinette, [who had] much wealth and [was] hanging out in Versailles, [who], later in his life, took up arms against them. ”
It was interesting to me. It was like, ‘How do you go from literally walking shoulder to shoulder with these people to realizing that you’re actually being forced to fight them? Something must have happened there. There must have been.” And I think that aspect was the most interesting. Awareness, immersion in yourself, learning about yourself, discovering your identity through creativity, [and] Your responsibility for that creativity, I think, [much, much] On a smaller scale, I was probably working on it at the time.
I’ve heard screenwriters talk about how TV writers tend to have more agency over the end result than feature writers because the director is such a big factor. What was it like jumping into film as a scriptwriter for you, who have only worked in TV so far?
Stefani Robinson: I think it was great. wrong. What you just pointed out is true. The film industry is kind of built on directors and their visions, and I think historically writers have been marginalized in that world. I say it with a lot of love and affection, and it’s kind of true. Writers are interchangeable and interchangeable, and I’ve seen it happen.
[In] I think some people expected me not to be too involved when I stepped into this experience. [was] Just the writers and I were going to pass it on. Luckily, Stephen is also from TV. We were two people from TV. We only know collaboration. That’s the only way we know how it works.
I’ve been very lucky to have agency on my scripts on TV, but in a collaborative way.Working with directors like Hiro Murai Atlantaor Yana Gorskaya or Kyle Newacheck, or Taika (Waititi) what we do in the shadows [was] An incredible collaboration experience. You just don’t really know where the script or directing ends, and you’re constantly having conversations and ping-ponging each other all the time.
That’s what I know, that’s how I like to work, and I want Steven to do the same. Simply put, that’s how we got into this experience. Very vocal, very determined and purposeful about the partnership we wanted. He and I defended each other to the end, honestly.was an irreplaceable partner [and was] You are incredibly kind to share all that experience with me.
this is [highest number of] Drafts you’ve ever done. What was the hardest thing to fix, and how big was the change from draft to draft?
Stephanie Robinson: Oh my god. Sometimes it’s the little things like rearranging a few scenes, “Okay, I think the whole first act is completely different” or “That character that was on every page is gone now.” It was hard.
I think we did many things right. That’s the thing. I don’t think it was a mistake to have drafts upon drafts. I think it’s just a studio note. When we’re making a movie, we have a lot more discussions. Again, we found it to be very different from our TV experience. In television, I’m very lucky to have had a partner to support the script and handle things like that.
The Searchlights were incredibly, incredibly kind, incredibly supportive, but that’s a whole different experience. We are balancing the budget.Also, there are a lot of moving parts. [that] the nature of cinema [is] different; therefore [filmmaking] Needs more discussion and manipulation.
Do you listen to music while writing? If so, what did you listen to while writing this?
Stefani Robinson: Great question. I listen to music while I write. I listen to music, but I also play movies. Mute your favorite movies while writing, [choose] Movies that I love and feel familiar with. [I choose movies] I know the back and the front. I think we did more than that.
wearll purple rain A lot, muted it. As I was writing, I looked up and started to see a little bit of it. There was a sass in that movie. It’s a silly movie. I love it. There’s a bit of unconventional silliness and self-awareness, and it tries to inject some of that into the flavor of the modern field. Chevalier, I think it was important.Obviously I wore Amadeus, Or I’m Sofia Coppola’s Marie Antoinette Just to truly immerse yourself in the world, the textures, the feel, the shots and the staging. All of them were really useful when writing movies more than music.
About Chevalier
Inspired by the wonderful story of Joseph Bologne, composer of the Chevalier de Saint-Georges. The illegitimate son of an African slave and a French plantation owner, Bologne (Kelvin Harrison Jr.’s Tour de Force performance) went on to become a famous violinist, composer and swordsman in France after an ill-fated love affair. Reach incredible heights in society. and the falling out between Marie Antoinette (Lucy Boynton) and her court.
check out our other Chevalier interview:
Chevalier It hits theaters on April 21st.
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