I already loved CODA. Now I love it even more. Also, now I have mad respect for Siân Heder’s writing process. Javier and Lauren asked some great questions. Thank you for posting this video!
Great discussion! Near the end, as Siân Heder spoke about Ruby turning around in the car as she goes off to her future, I thought about how in ASL the past is signed as being behind the speaker's back, and the future is in front of the speaker. That adds another layer of symbolism, integration, and poignancy to Ruby's turn.
Too funny - the spiel Heder starts in with at 6:50 about the original French film (available here BTW ruclips.net/video/LYhC9iCHtW4/видео.html). “I only watched the film once…and never watched it again”; she only took the premise of the film and then made her “own film”; she jotted down from memory the gist of some scenes that she liked for use in her film. Meanwhile, CODA is very similar to the French one - some scenes (family blaring music when they pick her up at school; choir director being harsh with the kids; doctor’s office; her and the guy singing back-to-back in the bedroom, etc.) are quite similar to their CODA counterparts. In particular, the recital, complete with sound fadeout, people in tears, etc.; the scene where the father puts his hand on her neck to "feel" her singing; and the audition, with the voice coach showing up just in time to accompany her, the false start, the girl signing to her parents in the audience -- all are almost line-for-line the same as CODA. Heder must have great recall: for someone who supposedly only watched the French film once, she lifts about half of it for her “own” movie. She did it better - much better script, better music, and a cast that was exponentially better - but I think here and other places she disingenuously gives the French film scarce credit.
I already loved CODA. Now I love it even more. Also, now I have mad respect for Siân Heder’s writing process. Javier and Lauren asked some great questions. Thank you for posting this video!
I absolutely loved the CODA movie. Thank you so much for discussing its creation!
Wow! So much new perspectives from author's script. Great discussion. I love this stuff!
Thank you so much for uploading this video. CODA is a great coming-of-age film.
Sian just want to thank you for CODA...you are absolutely amazing.
Great discussion! Near the end, as Siân Heder spoke about Ruby turning around in the car as she goes off to her future, I thought about how in ASL the past is signed as being behind the speaker's back, and the future is in front of the speaker. That adds another layer of symbolism, integration, and poignancy to Ruby's turn.
So beautiful. Love this. The script is beautiful and commentary excellent.
Too funny - the spiel Heder starts in with at 6:50 about the original French film (available here BTW ruclips.net/video/LYhC9iCHtW4/видео.html). “I only watched the film once…and never watched it again”; she only took the premise of the film and then made her “own film”; she jotted down from memory the gist of some scenes that she liked for use in her film. Meanwhile, CODA is very similar to the French one - some scenes (family blaring music when they pick her up at school; choir director being harsh with the kids; doctor’s office; her and the guy singing back-to-back in the bedroom, etc.) are quite similar to their CODA counterparts. In particular, the recital, complete with sound fadeout, people in tears, etc.; the scene where the father puts his hand on her neck to "feel" her singing; and the audition, with the voice coach showing up just in time to accompany her, the false start, the girl signing to her parents in the audience -- all are almost line-for-line the same as CODA. Heder must have great recall: for someone who supposedly only watched the French film once, she lifts about half of it for her “own” movie. She did it better - much better script, better music, and a cast that was exponentially better - but I think here and other places she disingenuously gives the French film scarce credit.