christie

Agatha Christie: Easter Eggs and Symbolism in the BBC Adaptations

‘Everything is the story,’ says screenwriter Sarah Phelps. That’s why the stage directions in her scripts are so finely detailed. ‘The story isn’t just what comes out of people’s mouths, the story is what’s in the room.’ ‘How high are the ceilings? Are the windows large or small? What does the air smell of? Is it cold? Is everything always slightly damp? Is there enough food on the table? Is there a fly buzzing somewhere? What can you see out of the window? Can you hear traffic? Can you hear your next-door neighbours? Is there a dog that barks incessantly?’…
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Sarah Phelps interview: Agatha Christie is Always Asking ‘Are You Paying Attention?’

‘You ordinary bitch!’ snarls Sarah Phelps, ‘put your cheap knickers on and get out of my house!’ The interview hasn’t taken a strange turn; she’s laughing down the phone, quoting along with memorable lines from her BBC One Agatha Christie adaptations.  ‘Oh, it brings me so much joy. It’s like The Witness for the Prosecution’s Romaine screaming in court ‘You fucking men! You fucking men!’ and then hissing at Mayhew like a cat!’ One of Phelps’ friends downloaded Andrea Riseborough’s hiss in that scene to use as her text message alert. ‘I get such a thrill out of it.’  Phelps’ screenwriting is built on thrill.…
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