A Novel Look at Film - American Film Institute

A Novel Look at Film VIEWING
GUIDE
OF MICE AND MEN

A Novel
Look at Film
is a screen education
program presented
by the American

Film Institute in
collaboration with
Montgomery County

Public Schools.

Sponsored by Sprint







OF MICE AND MEN

A Novel Look at Film

Viewing Guide

Novel by John Steinbeck (1937)
Film by Gary Sinise (1992)

Table Of Contents

PRE-VIEWING MATERIALS: Preparing to See the Film 4

The Novel/Film Connection: An Interconnected Relationship 4

Of Mice and Men: Novel, Play and Film 7

Film Guide: Production Crew and Cast 7

Cinematic Terms 8

Steinbeck’s Relationships Translated from Novel to Screen 10

Questions on Relationships to Consider While Viewing the Film 10

List of Other Elements to Consider While Viewing the Film 11

POST-VIEWING MATERIALS: Understanding the Film/Novel Relationship 12

List of Questions for Reflection Immediately After the Film 12

Suggested Post-viewing Classroom Activities 12

The People Behind the Production 13

Questions and Activities for the Interview Videotape 15

Assessments 15

Acknowledgements 16

The American Film Institute, the nation’s preeminent arts organization
dedicated to advancing and preserving the art of the moving image, is commit-
ted to informing the general public about the artistic and cultural significance
of the motion picture. In collaboration with the Montgomery County Public
Schools, AFI has prepared this guide to assist teachers with presenting the 1992
film OF MICE AND MEN, directed by Gary Sinise, in conjunction with John
Steinbeck’s 1937 novel. This film provides an excellent opportunity to educate
students about the medium of film while reinforcing the literary significance of
Steinbeck’s story. The guide is designed to provide examples of how to use film
language to complement the study of the novel in the classroom.

A NOVEL LOOK AT FILM • OF MICE AND MEN 3

P R E - V I E W I N G M AT E R I A L S :

Preparing to See the Film

The following materials are intended to assist teach- original novels to skyrocket. More copies of
ers with the preparation of students for viewing Wuthering Heights, for example, were sold in 1939
Gary Sinise’s film after they have read the novel. than during the previous century, a direct result of
Depending on the particular needs and interests of the film bringing the story to a mass audience for
their students, teachers might choose any number the first time.
of the following terms, issues and ideas when
preparing their own lesson plans. Although Hollywood and the films it produces have
changed dramatically since the 1930s, novels are still
The Novel/Film Connection: An an important source for filmmakers. Several recent
Interconnected Relationship adaptations of Jane Austen novels—Persuasion,
Since Of Mice And Men is presented as part of a Sense and Sensibility and Emma—have introduced a
unit on relationships, emphasizing the important new generation of moviegoers to stories written
relationship between novels and films would be a almost 200 years ago. Recent novels, including The
good way to make the transition between the book English Patient, Remains of the Day, L.A.
and the film. Indeed, a strong relationship between Confidential and Forrest Gump, have also inspired
novels and films has existed since the invention of critically-acclaimed motion pictures.
the motion picture. During the first decade of the
twentieth century, when film first progressed The proliferation of films based on novels results in
beyond merely capturing movement to telling sto- the inevitable comparison of the two. Audiences
ries, novels were among the earliest sources for familiar with novels bring a host of expectations
material. One of Hollywood’s early blockbusters, with them when viewing their film versions.
D.W. Griffith’s THE BIRTH OF A NATION (1915), Frequent comments about films based on novels
was based on a popular novel. Films based on nov- include:
els became particularly common with sound pic-
tures or talkies, which were first made in the late - “The film is true to the spirit of the book.”
1920s. By the end of the 1930s, the period often - “It’s incredible how they butchered the novel.”
called Hollywood’s Golden Age, between 30 and 40 - “Thank goodness they changed the ending.”
percent of the films produced were based on novels.
These statements are based on certain assumptions
Film producers were drawn to novels for a variety by the viewer, particularly that a film is intended to
of reasons. A novel’s ready-made story, complete be a snapshot of the book, like a photo reproduces
with characters, conflicts and conclusion, allowed the image of a person. Statements like these also
filmmakers to extract as little or as much from the assume that the novel is the norm and the film
book as they wanted. Novel-based films were con- deviates from it at its peril. According to this para-
sidered prestigious; if done well, they were often digm, the more the film strays from the novel, the
critically received and became top contenders for more inferior it is to the original work.
Academy Awards. In addition, films based on novels
were perceived as potential moneymakers. Whether Rather than considering a film a mere replica of a
the book was an old classic or a new bestseller, its book, it is more constructive to emphasize the
popularity was considered a good indicator of the fundamental differences between the two.
film’s box office success. Analyzing these differences is not only essential to
avoid considering a film merely as a replacement
Literary classics including David Copperfield, A Tale for the book, but it will also help students of film
of Two Cities and Wuthering Heights were all made to understand and appreciate both novels and
into films during the 1930s. Contemporary novels films more fully.
from the same period that addressed the social and
cultural concerns of the day, including The Good Both novels and feature films are stylized, contem-
Earth, The Grapes of Wrath and Rebecca, also porary examples of perhaps the oldest forms of
inspired screen adaptations that were released human expression: storytelling. Because human
shortly after the books’ original publication. In consciousness embraces much more than the pres-
most cases, these films caused the reading of the ent moment, recounting events or stories requires
the capacity to evoke other times and places, real or
imagined. The sequencing of time, space and action

4 A NOVEL LOOK AT FILM • OF MICE AND MEN

—ordering them and giving them coherence and
meaning—creates a narrative, the spine on which to
hang a story.

Literary narrative is basically a conventionalized NOVEL FILM
abstraction, a linear sequence of words and ideas linguistic = words visual = images
that evolves a story by being read. Film narrative is
similarly conventionalized, moving freely through conceptual perceptual
space and time to represent and portray action and
resolution through images, sounds and spoken raw material: raw material: recorded
words. While film narrative is much more concrete, written words images and sounds
leaving so much less to the imagination, both forms
of narrative speak to our senses and call on us to one author collaborative
participate in an active world the artist has called
up for us. When filmmakers turn a novel into a film, they ulti-
mately create their own work of art inspired by the
To reiterate, a novel is a work of linguistic art that book but additionally influenced by visual forms.
is comprised exclusively of words. The weaving Instead of creating a snapshot of the book, the film-
together of words into carefully crafted sentences, maker reshapes the words into a visual medium that
paragraphs and chapters is at the heart of a novel’s is completely different. The filmmaker does not
power to tell a story by inspiring images within the convert the novel at all, but creates instead a para-
reader’s mind. Film, on the other hand, is essen- phrase of the novel in which characters and inci-
tially a visual art form composed of images dents are approximated in visual terms. The novel
enhanced with sound that are presented before an communicates with established narrative conven-
audience on a screen. With less emphasis on writ- tions such as plot, characterization, point of view,
ten language as the primary structural element, setting, conflict and theme. The filmmaker can
film eliminates many characteristics of a novel choose which of these elements are important to his
which text more easily approximates: dreams, or her visual interpretation of the narrative. Besides
memories and feelings, which in the novel are con- the filmmaker’s personal choices, factors such as
jured up within the imagination of the reader. To budget and time can also influence the final forms
replace them, film relies on endless visual, physical of the visual narrative. Just as the author of the
and spatial variations that are combined and juxta- novel chose the words, character descriptions, set-
posed through the editing of those images into a ting and other elements that conveyed a message or
continuous moving picture. theme, similarly, the filmmaker has many choices,
employing some of the same tools, that can result in
A novel is a conceptual device that relies on the the same theme or an entirely different one. It must
reader’s ability to conceive what is being presented be assumed, therefore, that changes are inevitable
through words that conjure up ideas in the reader’s when a filmmaker transforms a linguistic medium
imagination. A film, on the other hand, is a percep- into a visual one.
tual medium that relies on the presentation of
images to the viewer that are perceived and under- Like two intersecting lines, novel and film seem to
stood once they are visible on the screen. meet at a point, then begin to diverge. At the inter-
section, book and shooting script may appear very
In the novel, the raw material is simply the words similar. When these lines diverge, they do not
themselves. In film, the raw materials and sounds resemble each other. An art form that depends on
are the images imprinted on celluloid that runs moving images, mass audience, industrial produc-
through a projector. The camera becomes the eye tion and profit is bound to differ from an art form
of the viewer, provides the point of view and
shapes the subject matter through the images it
presents. The omniscient voice of the novel is
replaced by the camera lens, through which the
novel’s language is filtered.

A NOVEL LOOK AT FILM • OF MICE AND MEN 5

that depends on language, a limited, literary audi- R E CO M M E N DAT I O N S O F
ence and the individual creation of the author. The NOVEL/FILM READING
filmed novel, in spite of certain resemblances, will
inevitably become a different artistic expression Select a movie you have viewed that was also a novel or
from the novel on which it is based. children’s story and describe in a brief, constructed response
many of the differences in the two texts.
Instead of searching for what aspects of the film are
different from the book, it is more constructive to OR
ask why those differences occurred and how they
might illuminate the story’s transition from a lin- Select a favorite scene from a story you have read that has
guistic to a visual medium. Doing so in the class- not been made into a film. Explain in a brief, constructed
room will sharpen the student’s awareness of the response which present-day actors you would select to
novel and introduce the vocabulary of film and its portray the main characters. Justify your choices.
intrinsic characteristics.

S U M M A RY: k Viewers bring many assumptions to novel-
inspired films, particularly that the film should be
The Novel/Film Relationship a photo album of the book.

k Films have been made from novels throughout k Films based on novels ultimately transform a
the history of movies. story based in a linguistic medium into a story
told in a visual medium that has its own distinc-
k Novels have consistently provided filmmakers tive characteristics.
with ready-made narratives that have often
resulted in prestigious, popular motion pictures. k Explaining why the choices are made when trans-
forming a literary work into a visual medium can
k Films have been made from both literary classics help students understand the strengths and
and contemporary novels since their beginnings, unique qualities of both.
and still are today.

6 A NOVEL LOOK AT FILM • OF MICE AND MEN

Of Mice and Men: Novel, Play and Film Film Guide: Production
Crew and Cast
Of Mice and Men is an excellent example of a novel OF MICE AND MEN (1992)
that has been adapted to both the stage and screen.
While Steinbeck was writing the novel during the PRODUCTION: Russ Smith and Gary Sinise;
mid-1930s, he was also considering how to rework released by Metro-Goldwyn-Mayer (MGM)
it as a play. In a Stage Magazine article published in DIRECTION: Gary Sinise
January 1938, he wrote, “Simply stated, Of Mice
and Men was an attempt to write a novel that could SCREENPLAY: Horton Foote
be played from the lines, or a play that could be
read.” Years later, he called this type of writing the EDITOR: Robert L. Sinise
“play-novelette” form. Steinbeck’s play, Of Mice and
Men, premiered in New York City in 1937 shortly CINEMATOGRAPHY: Kenneth MacMillan
after the book was published in the same year. Just
two years later, a film of the story was produced PRODUCTION DESIGN: David Gropman
starring Lon Chaney, Jr. as Lennie and Burgess
Meredith as George. ART DIRECTION: Dan Davis, Karen Schulz,
and Cheryl T. Smith
CASTING: Amanda Mackey

COSTUME DESIGN: Shay Cunliffe

MUSIC: Mark Isham

RUNNING TIME: 110 minutes

Based on the novel and play Of Mice and Men
by John Steinbeck (1937)

Gary Sinise’s 1992 film brings Steinbeck’s novel and LENNIE John Malkovich
play together in a motion picture that tells the story GEORGE Gary Sinise
in strikingly visual terms. Sinise had always loved CANDY Ray Walston
the book, which was one of his favorites from child- CURLEY Casey Siemaszko
hood. A veteran of the Steppenwolf Theatre CURLEY’S WIFE Sherilyn Fenn
Company in Chicago, he also starred as Tom Joad in SLIM John Terry
an acclaimed stage production of John Steinbeck’s CARLSON Richard Riehle
The Grapes of Wrath. In crafting the film, Sinise uti- WHITT Alexis Arquette
lized both theatrical and cinematic techniques to CROOKS Joe Morton
tell Steinbeck’s story. The film shows a respect for THE BOSS Noble Willingham
the novel but also departs from it. The result is a
film from which students can gain much under-
standing of how a literary classic can be translated
successfully to the screen.

A NOVEL LOOK AT FILM • OF MICE AND MEN 7

Cinematic Terms

A consideration of the many arts Crane shot: A shot accom- five to 16 feet, for example, would
and crafts involved in film pro- plished by having the camera mean that everything closer than
duction gives the motion picture a above the ground and moving five feet and farther than 16 feet
much larger and more complex through the air in any direction. would be out of focus. OF MICE
dimension. No longer can a film When George and Lennie first AND MEN is filled with shots in
of a novel be considered a mere arrive at Tyler Ranch, a crane shot which depth of field is used to cre-
visual record when so much talent follows them down the dusty road ate distinctive images. In down-
is involved in such a creative and the camera seems to take town Salinas, the streets are pho-
effort. Just as the various tasks in flight as they walk through the tographed showing both close-up
film production can be broken gate. Other crane shots are used passers-by and far away storefronts
down and analyzed individually, during the scenes of men working in sharp focus. The many aspects
so can the individual elements of in the barley fields. of the streetscape are arranged in
the film. Filmmaking, like any the frame in overlapping planes, an
other art form, has its own lan- Crosscutting: Editing that effect that contributes to the film’s
guage and vocabulary. Once that alternates shots of two or more rich sense of period.
language is mastered, films can be lines of action occurring in differ-
understood at a new level. ent places, usually simultaneously. Dissolve: A transition between
Crosscutting is often used during two shots during which the first
Camera angle: The position a key dramatic sequence to image gradually disappears while
of the camera in relation to the increase tension. In this film, the second image gradually
subject it shows: above it, looking crosscutting is used in two scenes appears. For a moment, the two
down (a high angle); on the same when George and Lennie are being images blend in superimposition.
level (a straight-on angle); looking pursued by angry ranch hands. To help make the transition
up (a low angle). OF MICE AND Since these occur at the beginning between the fields and the ranch, a
MEN consists almost exclusively and end of the film, they also act dissolve is used between the field
of straight-on angle shots. More as a kind of framing device. shots and a shot of horses’ hooves
extreme camera angles are used pulling wagons, which are carry-
sparingly. The film’s most dra- Deep Focus: A use of the cam- ing workers back to the ranch after
matic high angle shot captures era lens and lighting so that both a hard day’s work.
Lennie’s realization that he has close and distant planes are shown
killed Curley’s wife in a shot from in sharp focus. This technique Establishing shot: A shot
high above which captures him allows the filmmaker to emphasize that shows the relationship among
crouched in terror over the a character or object that appears important figures, objects, charac-
woman’s dead body. far away. In OF MICE AND MEN, ters and setting at a distance. In
the bus carrying George and OF MICE AND MEN, establishing
Close-up: A framing in which Lennie to Salinas seems small as it shots introduce the viewer to
the scale of the object shown is travels through the California Main Street in Salinas, Tyler
relatively large. Most commonly, a countryside, yet deep focus empha- Ranch and the barley fields where
person’s head is seen from the sizes its significance in the frame. George and Lennie work. From
neck up, or an object fills most of Many characters are also pho- the establishing shot, the film then
the screen to emphasize its impor- tographed using this technique. cuts to more detailed shots (often
tance. OF MICE AND MEN is Crooks and Curley’s wife often called coverage) that bring the
filled with important close-ups. appear distant from the camera. audience closer to the characters.
George riding alone in a freight Deep focus helps remind the
car, Lennie’s bloody face after viewer of their constant—but often Flashback: An alteration in the
Curley’s beating and Curley’s wife neglected—presence at the ranch. story order in which the plot
dreaming of becoming a movie moves back in time to show events
star are all shot in close-up to Depth of Field: The area or that have taken place earlier than
heighten mood and convey a cer- field between the closest and far- those already shown. OF MICE
tain cinematic intensity. thest planes captured by the cam- AND MEN is actually structured
era in which everything appears in entirely in flashback, though this is
sharp focus. A depth of field from not clear at first. The film opens

8 A NOVEL LOOK AT FILM • OF MICE AND MEN

with George riding alone in a dark Long shot: A framing in which When George and Lennie arrive at
train car. That image dissolves and the scale of the object shown is not Tyler Ranch, their first encounter
the story proceeds, causing the distant but relatively small. A stand- with the Boss is while he is eating
viewer to forget about it. When this ing human figure, for example, gen- breakfast. A POV shot shows his
image returns at the end of the erally appears nearly the height of oatmeal—and the walnuts he
film, it is clear that George is the screen. In OF MICE AND crushes with an iron nutcracker—
remembering his friend Lennie and MEN, Candy is introduced in a from their point of view. Although
the events that led to his death. long shot: shown from head to toe George and Lennie have not had
surrounded by barking dogs. The breakfast, he offers them nothing
Focus: When light, people, woman in the ripped red dress is and scolds them for not arriving
places and objects are captured on also introduced in a long shot that the day before. The man with the
film showing sharp outlines and shows her running through a barley food also has the power, and the
distinct textures through the field straight toward the camera. POV shot immediately establishes
manipulating of the camera lens. this dynamic between George,
There are different types of focus, Medium shot: A shot that Lennie and their employer.
which are used to achieve specific shows human figures from the
effects. In OF MICE AND MEN, waist up. The first encounter Wide angle: The use of a wide-
the field workers are shot in sharp between George, Lennie and the angle lens to create a shot that
focus, which emphasizes the con- Boss at Tyler Ranch is composed captures a wide range of elements
trast between their red and blue entirely of medium shots. Lennie or objects on a single plane while
clothing and the golden barley and George are shown from the at the same time exaggerating the
fields. In nighttime shots, soft waist up in shots that emphasize distance between foreground and
focus is achieved through diffused the extreme difference in their background planes. While Curley
lighting emanating from a concen- sizes. Similarly, the Boss is shot practices boxing with his speed
trated source such as a kerosene from the waist up sitting at a desk. bag, a wide angle shot shows him
lamp, which creates softer outlines in the center of the frame, the
and more subtle color tones. Pan (or panning shot): A farmhouse to the left (where his
camera movement with the cam- wife reluctantly shells peas on the
Frame: The rectangular box that era body turning to the right or porch) and an old car at the
contains the image projected on left. On the screen, it produces a right. While the Boss yells at
the screen. This perimeter is one mobile framing, which scans hori- Curley from the porch to “knock
of the filmmaker’s most important zontally. In OF MICE AND MEN, off that racket,” the wide angle
tools. The frame is the window this type of shot is often used to shot captures all three family
into the world of a film. Within it, link George and Lennie, empha- members in the frame yet also
each shot is composed and the sizing their strong connection and suggests their isolation from
edges of the frame allow the film interdependence. Panning shots one another.
maker to create a picture. Movies can also emphasize movement.
were first known as moving pic- When the bus drives past George Zoom: A lens which allows the
tures, and this description is still and Lennie walking along the road focal length—the distance
useful when considering the to Tyler Ranch, the camera follows between the camera and the
important role the frame plays as it in a panning shot, making it object being filmed—to change
a compositional device. Through appear to move even faster than it during a single shot. The camera
the camera’s eye, the viewer is pre- actually is. can zoom in by going closer to an
sented with images that convey the object or it can zoom out by
story. Within the frame, the film- Point of View (POV) shot: pulling back from an object. In
maker creates several different A shot taken with the camera OF MICE AND MEN, the zoom
types of shots, which are generally placed where the character’s eyes lens is most often used to zoom
characterized by the relationship would be to show what the charac- out from a character. The zoom in
between the size of the elements in ter would actually see. This type of is reserved for crucial moments,
the frame to each other and to the shot is usually cut in before or after such as when Curley’s wife con-
frame itself. a shot of the character looking at fesses to Lennie that “Curley is
whatever the POV shot contains. not a nice fella.”

A NOVEL LOOK AT FILM • OF MICE AND MEN 9

Steinbeck’s Relationships How does George explain his relationship with
Translated from Novel to Screen Lennie to others? His explanation to the Boss at
Tyler Ranch, for example, is very different from
The numerous relationships in OF MICE AND MEN what he tells Slim. What do these conversations
provide the story’s fundamental framework. While convey about George’s attitude toward Lennie and
viewing the film, focusing on three types of relation- their relationship?
ships may reveal some differences in the two media.
While the relationship between George and Lennie is George’s feelings about his connection to Lennie
at the heart of the novel, their interactions with other vary throughout the story. How are his anguish,
characters reinforce the plot’s depth and complexity. frustration and affection for Lennie expressed in
In addition, the relationship of the setting to these visual terms? Shot composition? Lighting? The
characters and their actions should be observed. expressions and reactions of the actors?
Finally, the relationship of the cinematic elements to
character and theme should be a key focus. How does Lennie express his feelings about his rela-
tionship with George in visual terms? Gestures?
RECOMMENDATIONS FOR VIEWING THE FILM Facial expressions? Conversations?

Divide the class into groups before they view the film. While watching the film, think about how the film-
The following questions cover three elements of the film: maker shows the relationship between the following
character, setting and cinematic relationships. Give each characters:
group a different relationship on which to focus their
viewing of the film or each group may divide the questions George and Slim
equally among its members. Curley and his wife
Curley’s wife and George
Curley’s wife and Lennie
Candy and his old dog
Lennie and his puppy

Which other characters in the film do not seem to
have relationships with anyone? What does this tell
us about them?

Look for parental relationships in this story. Curley
and his father are the only blood relatives. Which
relationships suggest the nurturing guidance or
responsibility of a dominant parent and his depend-
ent child?

Questions on Character Relationships How are characters portrayed in both positive and
to Consider While Viewing the Film negative ways? Are there good and bad characters,
or are they a combination? For example, Crooks is
How is the relationship between George and Lennie referred to with a term with strongly negative con-
expressed in the film through camera placement or notations. Why is he referred to this way? George
shot selection? Through clothing, setting or spatial calls Curley’s wife a “rat trap” when he first encoun-
relationships? What types of shots reinforce their ters her—a judgment made after seeing her for just
strong connection? a few minutes. Why does he say this, and is he right
about her?

Except for Curley’s wife, men overwhelmingly dom-
inate this film. What is it like for her to exist in this
environment? How does she react to it?

10 A N O V E L L O O K A T F I L M • O F M I C E A N D M E N

Questions on the Relationship crane shots, for example. Why does the director
between Setting and Other Elements choose to move the camera at these times, and how
to Consider While Viewing the Film: does this help tell the story?
Characterize the setting. What words and ideas
would you use to describe it? How do various types What do the setting and other visual cues tell you
of shots convey the film’s physical qualities about the time period? How do clothes, cars and
(e.g. landscapes, buildings, interiors)? other visual elements indicate that the film takes
place in the 1930s?
The relationship of the story to its setting: Why does
the story take place in its particular time and place? Try to time how long each scene is. One minute? Five
minutes? Are some scenes longer than others? Why?
The relationship of characters to setting. How do
characters react to it and express their feelings Try to determine when one scene ends and another
about their surroundings? begins. How does this give the film a certain
rhythm? Note the importance of editing in the pac-
Could the settings alone—without characters in ing of scenes and the film as a whole.
them—convey anything about the people who live
there and their relationships? How? Why do you think the actors were chosen? Type?
Style? Look? Age?

Questions on Cinematic How are the animals filmed? Why are they impor-
Relationships to Consider tant to the story?
While Viewing the Film
Identify basic shots while you watch the film: long Which scenes are accompanied by music and
shots, medium shots and close-ups. which are not? What is the effect of the scenes
without music? How does music enhance or alter
Notice when the camera moves—during panning or the other scenes?

A NOVEL LOOK AT FILM • OF MICE AND MEN 11

P O S T- V I E W I N G M AT E R I A L S :

Understanding the Film/Novel Relationship—A List of
Questions for Reflection Immediately After the Film

Directions: In brief, constructed responses answer Suggested Post-viewing
three of the following questions based on your viewing Classroom Activities
of the film. Screenwriter Horton Foote has added several scenes
to the film which are not present in the novel to
How did seeing this film on a large theater screen clarify certain parts of the story or to give certain
affect your experience? How was it different than characters more depth. Choose a character you
seeing it on a television screen? would like to know more about and write a scene to
add to the film. It can be in the form of a simple
At what points during the film did you feel happy? story or narrative. Try including dialogue.
Hopeful? Excited? Tense? Bored? Sad?
Uncomfortable? List the film elements that con- Imagine some of the places that are mentioned in
tributed to these particular feelings. the film but not shown: the “little place” with the
rabbit hutch that George describes for Lennie; the
Select a specific moment or scene in the film and Riverside Dance Palace where Curley meets his wife;
describe how the music influenced your feelings. the interior of the ranch house where Curley’s wife
listens to her records (and where Curley smashes
Describe how some film techniques made you iden- them). As the production designer for these scenes,
tify with any particular character. Why? create drawings of what they might look like. Sketch
a storyboard of how you might arrange actors
If you were the filmmaker, how might you have within these settings and how you might shoot a
made the film differently? What elements would scene that takes place there.
you have changed? What elements would you leave
the same? Choose a scene from the film and recreate its shots
through simple sketches after reviewing the scene in
Choose a scene from the film and consider how you class. Once the sketches are created, put them
would change one film technique (e.g. shot selec- together the way they are edited in the film, and
tion, lighting, music). Describe how the change then re-edit the scene by rearranging the long shots,
would affect the scene. medium shots, and close-ups.

Pick scenes from the novel that contain dialogue to
read aloud in class. Some students can be the actors.
Others might direct by asking their colleagues to
read a line differently, with a certain emphasis, more
quietly and so forth. Others could be assigned to
hold the camera. How hard is it to read lines with a
camera less than three feet away?

12 A N O V E L L O O K A T F I L M • O F M I C E A N D M E N

The People Behind the Production
To prepare for viewing the interview of Gary Sinise and other
people behind the production of the film, read the following
overview of the individual jobs involved in making a film.

Because it combines the novel with without the help of numerous generally overlooked by the
the fundamentals of filmmaking, other artists and technicians. In moviegoing public, yet is essential
Gary Sinise’s OF MICE AND MEN fact, the notion of the director as to the completion of any film. If
can also be used to introduce stu- author is misleading, because it there is no script, there is no
dents to the basic language of film. assumes the director does every- movie.
While a novel is the creation of one thing—just like an author writes
person, a film is a collaboration an entire book—which is not the Production Designer: Before
among many creative individuals. case. A director works at the center one inch of film is shot, the pro-
In order to understand film as an of film production, but is inextri- duction designer is the first artist
art form, it is important to con- cably linked with dozens of other to translate the script into visual
sider the jobs of the numerous people to get the job done. For OF form. He or she creates a series of
individuals who work together to MICE AND MEN, Gary Sinise storyboards that serve as the film’s
make the film a reality. served as both producer and direc- first draft. A storyboard is a series
tor, which is common with low- of sketches, paintings or watercol-
Producer: The person or group budget, independent productions. ors arranged on large panels to
responsible for financing a film Although he wore two very impor- show the visual progression of the
and managing the production tant hats during this production, story from one scene to the next.
from start to finish. The producer he depended on many others to The production designer deter-
develops the project from the ini- help make the film. mines the palette of colors to be
tial idea, makes sure the script is used and often provides important
finalized, arranges the financing, Screenwriter: Although John suggestions about the composition
hires the personnel to make the Steinbeck created a play based on of individual shots. Creating this
film and oversees its distribution his own novel, he did not write the sketch of the film on storyboards
to theaters. The producer also screenplay. Screenwriter Horton also ensures the visual continuity
coordinates the filmmaking Foote, who has adapted both nov- of the film from start to finish.
process to ensure that everyone els (To Kill a Mockingbird) and Storyboards serve as the director’s
involved in the project is working plays (The Trip to Bountiful) to the visual guide throughout the pro-
on schedule and on budget. OF screen, combined elements from duction. In OF MICE AND MEN,
MICE AND MEN was produced both Steinbeck’s novel and play production designer David
by Russ Smith and Gary Sinise, into a single screenplay or shoot- Gropman created a palette of pri-
who worked together to secure ing script. While the dialogue in a mary colors—yellow California
financing and to organize the pro- film may seem natural to the hills and blue denim clothing of
duction. Ironically, the producer’s viewer, it is carefully crafted by a the ranch hands—highlighted by
role is often invisible to the movie- writer. The screenwriter does far occasional but significant splashes
going public, who tends to focus more than provide dialogue for the of red: a bandana, a hat band, a
on actors and directors. Yet, with- actors. He or she also shapes the ripped red dress.
out the producer at the helm, films sequence of events in a film to
do not get made. ensure that one scene leads logi- Art Director: The art director
cally to the next and the film tells is responsible for the film’s set-
Director: The individual prima- its story in a logical and interesting tings: the buildings, landscapes
rily responsible for overseeing the way. When using a novel or play as and interiors that provide the
shooting and assembly of a film. a starting point, the screenwriter physical context for the characters.
He or she is most directly respon- inevitably rearranges, adds or Art direction and production
sible for the picture’s final appear- eliminates scenes to make sure the design is often and easily confused.
ance. The director is sometimes final order or sequence of scenes While the production designer
referred to as the author or auteur makes sense when presented on determines the big picture—the
of a film because of his or her the screen. The screenwriter also overall appearance, color palette
essential involvement with its cre- includes descriptions of settings and basic visual composition of
ation. While the director might be and often suggests movements or the film—the art director provides
compared to a novel’s author as a gestures for the actors. Like the the individual pieces within this
film’s primary visionary, he or she producer, the screenwriter’s role is framework, which includes every-
would not be able to make the film thing but the actors themselves. In

A NOVEL LOOK AT FILM • OF MICE AND MEN 13

OF MICE AND MEN, art directors and costume designer have finished the assembly of several shorter
Dan Davis, Karen Schulz and Cheryl their work on the film’s physical shots in rapid succession, height-
T. Smith recreated 1930s downtown elements, the director of photogra- ens the pace and reinforces the
Salinas, complete with Main Street phy, or DP, is responsible for cap- action or emotion taking place on
storefronts and automobiles from turing their handiwork on celluloid. the screen. This process is known
the period. They also determined The DP is an expert in photo- as editing.
the locations for each significant graphic processes, lighting and the
place in the film, from the Tyler camera’s technical capabilities. Actors: For the audience, actors
Ranch to the sheltered grove where When the director wants a shot to are the most visible and tangible
George and Lennie meet by the achieve certain visual or atmos- part of the production. While they
river. Tyler Ranch, where most of pheric qualities, the DP achieves it are obviously essential to any film,
the film takes place, makes Lennie through his or her choice of light- they are pieces in a much larger
immediately uncomfortable. While ing, film stock and careful manipu- puzzle. Behind every actor is a
this is certainly due in part to his lation of the camera. In this film, director guiding his or her per-
stormy initial encounters with the cinematographer Kenneth formance, a cinematographer cre-
characters that live there, the ranch’s MacMillan photographed the ating the perfect light and film
physical characteristics are far from Salinas Valley of California, captur- exposure, a screenwriter providing
inviting. The bunkhouse is cheaply ing its golden hills and dusty sun- plot and dialogue, an art director
built with a dusty wood floor and shine in shots that lovingly recreate designing the physical environ-
knotted planks that let in daylight. the area’s striking yet harsh beauty. ment and a costume designer pro-
Even the farmhouse, with its peeling During shooting, the director and viding the proper attire.
paint and broken screen door, con- cinematographer work closely to Considering an actor’s role within
veys a sense of neglect that rein- shape each shot, using the story- this larger context also suggests
forces the film’s undercurrents of boards created by the production that his or her job is much more
loneliness and isolation. Although designer as a guide. This craft is difficult than just appearing on the
these details are subtle, they suggest referred to as cinematography. set and reciting lines.
how the story can be complemented
by the film’s physical elements. This Editor: Shortly after shooting Music: Music has been an integral
craft is referred to as art direction. begins, the editor begins to organize part of movies since their invention
the footage—known as the daily in the 1890s. Even the simplest
Costume Designer: Costumes rushes—and arranges individual silent films were accompanied by a
convey a great deal about the film’s shots into one continuous sequence. piano or organ player. The silent
time period and the characters who Even in a single scene, dozens of dif- movie palaces of the 1920s were
wear them, their economic status, ferent shots have to be chosen and equipped with elaborate organs and
occupation and attitude toward assembled from hundreds of feet orchestra pits to accommodate large
themselves. Costume designer Shay of film. The editor’s choices about groups of live musicians. When
Cunliffe outfitted George, Lennie which shots to use and the order sound was integrated into the film-
and the Tyler Ranch hands in worn in which to place them have a pro- making process, music, sound
denim work clothes, yet distin- found effect on the appearance of effects and dialogue became essen-
guished each man from the other the final film. OF MICE AND tial tools for enhancing a film’s
through different hats, a mix of MEN’S editor Robert L. Sinise visual qualities. Writing movie
plaid and solid shirts, and other used a juxtaposition of shots and music has been a full-time profes-
small but significant details. Slim’s a number of cuts to give each sion since the 1930s and is still a
gray sweat-stained hat, Curley’s scene its own rhythm. In scenes critical component in filmmaking.
black leather glove and the cotton that reveal the film’s Salinas Valley Composer Mark Isham created a
A-line dresses worn by Curley’s wife setting, fewer, lengthier shots sug- score for OF MICE AND MEN
are among the carefully selected ele- gest the landscape’s vast, monu- reminiscent of the music of Aaron
ments that are woven together in mental qualities. To quicken the Copeland in its distinctly American
this essential aspect of the film. action in other scenes—men melodies comprised largely of
working in the fields or playing strings and woodwinds. In some
Cinematographer: After the horseshoes—quicker cutting, or sequences, banjos lend the film a
production designer, art director regional folk quality.

14 A N O V E L L O O K A T F I L M • O F M I C E A N D M E N

Questions and Activities
for the Sinise Interview

R E CO M M E N DAT I O N :

Teachers should show students the videotaped interview of
Gary Sinise after students have viewed and discussed the film.

Questions and Activities
for the Interview Videotape
How did Gary Sinise become interested in producing
a film version of OF MICE AND MEN?

List the steps he took to produce the film.

What did screenwriter Horton Foote consider before
writing the screenplay?

What is a “buddy movie”?

With what change from the novel does
Gary Sinise choose to start the film? Why?

What are the characteristics of Gary Sinise’s
directing style?

How did production designer David Gropman Assessments
prepare for his role in the film? It is recommended that teachers and students who
have participated in the “A Novel Look at Film”
Cite some problems the production designer faced. program complete the first assessment.

What problems did Gary Sinise face with casting his Compose a letter to James Hindman, Co-Director
actors? How did he solve those problems? and Chief Operating Officer of AFI, to thank the
organization for coordinating the project. In the let-
According to Gary Sinise, what made it easy to adapt ter, describe your film-going experience and how
the novel to film? your understanding of the novel or the theme of
relationships was affected.
What adjustments to the plot did Gary Sinise make?
Answer three essential questions for the
How did Gary Sinise choose to portray Crooks? Relationships Unit after reading the novel; then
answer them again after viewing the film and the
How did Gary Sinise choose to portray Curley’s wife? Sinise interview. List the differences, if any, in those
responses.
What scenes were added that were not in the novel?
Why were they added? Gary Sinise had a dream to make the novel Of Mice
and Men into a film. He had to consider many fac-
What change in the ending does Sinise give the film? tors and face many choices before his dream became
Why? reality. Write a well-organized essay about the rela-
tionship of a novel to a film. Support your ideas with
What is the affect, in the last shot at the river, of appropriate details, examples from the interview with
George being bigger than Lenny in the frame? Gary Sinise and your study of the novel and the film.
Choose language carefully to express your ideas
In a brief, constructed response, explain Sinise’s mes- clearly to a student who has not been involved with
sage about relationships. the “A Novel Look at Film” project.

RECOMMENDED ACTIVITY

In small groups, create a list of questions you would like to
ask Gary Sinise or other members of the production crew.

A NOVEL LOOK AT FILM • OF MICE AND MEN 15

AMERICAN FILM INSTITUTE
JEAN PICKER FIRSTENBERG
Director and CEO

JAMES HINDMAN
Co-Director and COO

RAYMOND BARRY
Director, AFI Silver Theatre

DAVID A. COLE
Executive Consultant, AFI Silver Theatre

STEVE MONTAL
Director, Educational and
Special Program Development

Guide prepared by CHRISTINA WILSON
and MATTHEW BORATENSKI

Guide designed by AURAS

Video produced by MERLE GOLDBERG

Video edited by SUE HIRSHON

Photos taken by ANDREW COOPER
copyright 1992 MGM

The American Film Institute would like to thank
the following organizations for their invaluable
assistance with this project:

METRO-GOLDWYN-MAYER, INC.

MONTGOMERY COUNTY PUBLIC SCHOOLS

SPRINT

REGAL CINEMAS

OF MICE AND MEN
HORTON FOOTE
Screenwriter

GARY SINISE
Director, Producer, and Actor

DAVID GROPMAN
Production Designer

MONTGOMERY COUNTY
PUBLIC SCHOOLS
DR. JERRY WEAST
Superintendent

JUDIE MUNTNER
Associate Superintendent of
Instruction and Program Development

DALE FULTON
Director, Department of
Curriculum and Instruction

ERICK LANG
Director, High School
Academic Initiatives

ESTELENE BORATENSKI

MATTHEW BORATENSKI

DEBORAH WILCHEK

VICKI ADAMSON

SPRINT
DAVID P. THOMAS
Executive Director, Sprint Foundation

MICHAEL FLEMING
Group Manager, Sprint Field Corporate Relations



The American Film Institute, the
nation’s preeminent arts organization

dedicated to advancing and
preserving the art of the moving
image, is committed to informing the
general public about the artistic and
cultural significance of the motion
picture. In collaboration with the
Montgomery County Public Schools,
AFI has prepared this guide to assist
teachers with presenting the 1992
film OF MICE AND MEN, directed by
Gary Sinise, in conjunction with John
Steinbeck’s 1937 novel. This film
provides an excellent opportunity to
educate students about the medium
of film while reinforcing the literary
significance of Steinbeck’s story. The

guide is designed to provide
examples of how to use film
language to complement the study
of the novel in the classroom.