If Shakespeare were alive today…
In my last post on the gestation of So Long, Shakespeare, I recounted the search for a fictitious solution to the seemingly unanswerable Shakespeare authorship conundrum. Inexorably, I arrived at the idea of using Shakespeare’s DNA to bring him back from the dead. Someone, somewhere, would devise a genetic means of transferring one person’s creativity into the body and mind of another. In so doing, they would discover – or at least, so it would seem – that the ‘man from Stratford’ was indeed an impostor.
The question was: who would achieve this world-changing feat, and why?
One option, clearly, was to make the cloning of Shakespeare’s DNA exclusively a question of authorship attribution – something designed to prove the point once and for all. But since my whole conceit was about disruption – shaking up the existing foundations of the authorship debate on all sides – this felt a little obvious. Instead, I wondered what would happen if the DNA resuscitation occurred for other reasons, in a totally different environment, and the associated authorship discovery were made entirely by accident? Wouldn’t that shake things up a treat?
I began thinking who else might want to harness Shakespeare’s talent, if such a thing were possible – and the answers came cascading in. Foremost in my mind was memory of that perennial debate: What would Shakespeare be doing if he were alive today?
The most popular answer is also the one to which I subscribe: namely, that he’d be in Hollywood, or at least big budget TV, writing for the masses, rather than a theatregoing minority. The stage, after all, was the mass culture of Shakespeare’s time. Like the great baroque composers, our latter-day perception of him as belonging to ‘high culture’ is not only precious but anomalous. First and foremost, he wrote not to enlighten but to make a living. The profound, life-enriching power of his plays was secondary to the requirement of entertaining as many people as could be attracted to watch them. Given which, it’s no surprise that many of his dramas explore precisely the same themes as the grandest Hollywood blockbusters – history, family and romance. The affinity, in many ways, is absolute.
But even if I hadn’t agreed with all this, Shakespeare-in-Tinseltown was still an irresistible fit. Here was a setting where talent talks, meaning the demand for his manifestly incomparable services would be automatic and unthinking. Moreover, it was a world where the financial firepower and hubristic imagination required to engineer such extraordinary genetic magic was readily available. In every sense, it was a credible scenario: Hollywood mogul tries to harness Shakespeare’s writing power for profit and artistic gain – only to discover, inadvertently and inconveniently, that Shakespeare didn’t really write the plays. His next step, quite naturally, would be to round up the DNA of the alternative candidates – which would require the assistance, in some form, of the established authorship fraternity. Soon enough, a fascinating mix would be coming to the boil, and we’d be well on our way to changing the flagship face of western culture.
There was just one big choice left to make. What kind of films would my mogul be making – and why would he feel the need to enlist Shakespeare’s help?
It was at that point that the two dominant Hollywood franchises of the time fused in my mind: Star Wars and The Lord of the Rings.
George Lucas’s original trilogy had given me some of the happiest moments of my childhood, and I didn’t think the prequel series was that bad. The design was glorious, the storyline wasn’t bad, and John Williams’s music was as powerful as ever. The problem, purely and simply, was with the prosaic, lifeless and entirely earthbound dialogue. That, and the impact it had on the acting.
Meanwhile, Peter Jackson’s epic re-telling of J R R Tolkien’s Middle Earth saga was ticking every box, dialogue included, such that, by the time Return of the King came around, the popular demand for Oscar recognition was met by precisely that.
So I set to wondering: what if there were a sci-fi auteur, whose films were terrifically successful but who harboured an over-riding yet unfulfilled ambition to have his populist achievements recognised by his establishment peers with victory at the Oscars? And what if the barrier to achieving this wasn’t, in fact, the snobbery of the elite, but the quality of his screenplays’ dialogue? Wouldn’t such a man be more than a little keen for some help with his writing? Wouldn’t he just love to have someone of Shakespeare’s calibre come to his aid, and help him attain his dream?
The answer, quite obviously, was yes – and so, indeed, it was to be.