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Inscribed works of art communicate meaning through the visual language of objects as well as the mystical powers and attributes of words, letters, graphic symbols and the very act of writing. The capacity of writing to bring about change in people's lives lends itself to contexts of divination, healing and other forms of spiritual mediation, in addition to prayer, devotion and states of heightened awareness. I later found out that it was five women who were sitting together and they all looked over and saw each other crying at the exact same time and they started laughing (chuckles).In religious traditions the world over, writing and graphic inscription are endowed with sacred attributes, for they are considered both the embodiment of the divine and a powerful means for conveying religious teachings. WOLFE: At one point during an incredible emotional scene, I hear these people start laughing and I’m thinking, What is going on. I am I just don’t like to blare it down the street.ĮSSENCE.COM: How did the audience at the New York premiere on Tuesday respond? WOLFE: I would call myself a guarded, closeted, hopeless romantic (laughs).
#THE COLORED MUSEUM SCRIPT MOVIE#
I also want them to be seduced by the beauty of the movie and to be caught up by the wonderful performances of the incredible cast.ĮSSENCE.COM: Would you call yourself a hopeless romantic? I want them to find themselves a piece of themselves in the story. Then, I want them to come out hopefully with some sense of relief. WOLFE: Well, first I want them to walk in (laughs). What do you want people to walk away with after seeing this film? People can assign sign posts, but I don’t think of it that way, not at all.ĮSSENCE.COM: When I saw an early press screening of the film, I was in tears. I mean, I did “Lackawanna Blues ” it was a movie, but on HBO…but it was on TV. To lose someone you love is so intense and powerful, both devastating and transformational.ĮSSENCE.COM: How do you react to people who may see this as your first “mainstream” project? What was important to me was dealing with the transformational power of loss. You know, nothing is permanent or absolute. WOLFE: Of course, love is one of the act twos that can happen. You can begin anew, in your forties and fifties, and the choices you make are now based on knowing yourself as opposed to who you think you are.ĮSSENCE.COM: It’s also a very sweet love story. But things can happen in your life where you can start again, not start clean. You can find yourself trapped inside of it. You can make choices in your twenties and thirties that sometimes don’t deliver the way you thought it would. WOLFE: I was intrigued by the idea of an Act Two in your life. I just responded to something inside of it it ignited me.ĮSSENCE.COM: What about the script appealed to you? I read it, but I didn’t quite get what I got about it. WOLFE: My agent sent the script to me and didn’t know if I’d like it because it’s very different from anything else I’ve done. His first feature film, HBO’s “Lackawanna Blues,” was well-received.ĮSSENCE.COM: Why did you select this project as your first move to the big screen? Where he helmed critically acclaimed productions including “Bring in ‘Da Noise, Bring in ‘Da Funk” and Suzan-Lori Parks’s Pulitzer Prize-winning play “Topdog/Underdog,” to pursue a more creative life. His Broadway hit, “Jelly’s Last Jam,”received 11 Tony nominations and the following year he won his first Tony for directing Tony Kushner’s “Angels in America: Millennium Approaches.” In 2005, he left his 12-year post as artistic director/producer of New York’s famed Public Theater, Over the years Wolfe has proven his versatility and enjoyed spectacular success. The film reunites Hollywood heavyweights Richard Gere and Diane Lane for some love and soul-stirring. Wolfe, the groundbreaking writer/director/producer, who first gained attention in the 1980’s with the seminal production, “The Colored Museum,” makes his big-screen debut this weekend with the film adaption of author Nicholas Sparks’s “Nights in Rodanthe.”