LIFE’S GENESIS:

More than half a century after James Dean’s death, he continues to fascinate. His life and death are the stuff of legend. But See-Saw Films did not set out to create a generic biopic either to celebrate the myth of James Dean or to refute it. The film-makers saw another possibility behind the icon—a story about friendship and cultural change. Two artists met: one a successful establishment photographer and the other a rebellious actor on the cusp of greatness and tragedy. Their uneasy relationship developed into a camaraderie that produced iconic images of a new generation of discontented youth and a new breed of film star.

The story See-Saw tells emerged from patient research into the lives behind the myths surrounding their subject. Producer Iain Canning observes, “There can be an instant excitement about the idea of doing a film about a real person, but that doesn’t necessarily mean that there’s a story worth telling…. We went through a very heavy research phase, sifting through the myths and trying to get to the truth of the story while also making sure that it was emotionally interesting or dramatically interesting enough for us to start developing into a feature film.”

Luke Davies undertook the research and writing that became LIFE. He had worked with See-Saw producer Emile Sherman on a film adaptation of Luke’s book Candy, and he knew Iain and Emile well. Luke’s own early life story and writing had brought the collaborators together and sown the idea for pursuing an artist—actor, musician, writer, photographer—as film subject. James Dean was discussed, and Luke took on the project. “I immersed myself in every single piece of information about James Dean,” says Davies, “and in the end I had the broad stretch of his short life”. But one part stood out: 7 Dennis Stock’s photo assignment trip with James Dean. Luke shared the idea with See-Saw. “That’s our movie,” said Iain. In 2010, Luke started writing the script. It became not a full biopic with a grand sweep, but “a short arc with grand themes,” says Davies.

Luke continued his investigation into Dennis Stock and the background to the famous Times Square shot of James Dean. His research included interviews with people connected to the story, including Magnum executive John Morris (played by Joel Edgerton) and Dennis Stock’s son Rodney, who was seven at the time of the story. As he gathered biographical detail, he made a serendipitous discovery: “Act one, Los Angeles. Act two, New York. Act three, Indiana,” says Luke. “And going back to Indiana is like a journey into Jimmy’s past. Indiana represents traditional America of that era, and there is a tension between the farm and the world of fame.” Davies sees “an incredible turning point in the American zeitgeist” captured in the mix. Here were the origins of the sixties revolutions to come. As Luke observes, “the kids who were fourteen and fifteen years old in 1955 watching Rebel Without A Cause“ saw themselves represented seriously and saw a foreshadowing of the coming cultural changes they would initiate.

“As for finding the right film title, Davies says, “This one was instant. There was never another title.” Dennis Stock is working on a LIFE magazine assignment, and life choices are at the heart of the story. Says Davies, “In a sense the movie is at some deeper level about how mortality should affect the way that we choose to live here and now. So it’s a celebration of life and an elegy for James Dean’s death.”

With a thoroughly researched, well-written script in place, the development process continued. Iain and Emile approached Christina Piovesan about co-financing the film and producing it in Toronto. She had worked with the See-Saw producers before. Christina says, “Emile and Iain are among the most creative and insightful producers out there. Iain’s creative and narrative skills are so honed, and it was a great opportunity to collaborate with producers who are absolutely at the top of their game.”


Via: @Gossipgyal