Thursday, February 12, 2009


Luke Menichelli emailed this Nasrudin storyboard and excerpt from the script.Nasrudin storyboard (from International Film Guide)

CAT AND MEAT (Sequence 7)
Cut to Kerima, still stirring her pot, furious. Crowd noises die down slightly, as they start to give up,
Muttering ...

Cut to Nasrudin beside window, looking at Kerima,

Cut to Kerima, who looks around craftily, takes a big bowl and ladles out a great quantity of meat balls into it. She looks
around again and eats the whole thing in three seconds,
Nasrudin tiptoes downstairs.
Kerlma, dear ... what is for lunch?
She says nothing, scrapes the bottom of the pan and ladles out two and a half potatoes on his plate and three on hers, She
gulps hers down.
Potatoes? - what happened to the three pounds of meat I brought you?
(finishing off another potato)
The cat ... the cat ... the cat ate it! All three pounds of it !
Nasrudin puts down his plate, goes over to the slumbering cat on a chair, picks it up and puts it on a set of hand-held
scales, He puts on three one-pound weights,
This cat weighs three pounds
So? ... Slobber! Slobber ... So?
If this is the cat, where is the meat?
If, on the other hand, this is the meat
where is the cat?
He puts the cat down on the chair and, angry now, stamps out to the backdoor, turns around and gives Kerima an angry glance
and slams the door. Fade to black.


Maurice said...

This Nasruddin storyboard is a very interesting find.

So I guess after Idries Shah refused Richard permission to use the character of Nasruddin (and doing that about half a decade too late), Richard's renewed concept, starring the previous supporting cast, became a lot more personal, and that's when he stopped using storyboards to plan the story.

What do you think is the significance of his change of techniques?

Mick said...

super cool... very inspirational