"I was utterly knocked out by the way Tom Stoppard's mind worked, his brilliance and by the fact he made Brazil out of a big lump of stone that I'd spent a year or two preparing. I gave that to him and out of that he carved a beautiful Michelangelo David. How I came to him was this: I was walking down the street and suddenly it hit me, Tom Stoppard."
"The very first revision he did was an extraordinary readjusting of everything and making sense of it all. The big example is where there were two completely disconnected characters, and now suddenly one was Buttle and one was Tuttle and we have confusion between them and immediately things started being stitched together. He took everything to a greater height, he had a better approach to the paranoia and madness of bureaucracy. It was just exceptional."
Tom Stoppard received a 100-page pile of disparate ideas and completed two or three major rewrites that reshaped the material. He merged previously disconnected characters into Buttle and Tuttle, creating productive confusion that stitched plotlines together. He reframed and heightened themes of paranoia and the madness of bureaucracy, producing markedly tighter drafts. He produced an extraordinary first rewrite in roughly two to three weeks and followed with an even more refined version. He also conceived an ambitious opening scene featuring a beetle in a tropical paradise that could not be filmed due to budget constraints.
Read at www.theguardian.com
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