Joe Wright- An Observation- Dyslexia
I first started to research director Joe Wright when I found out he was dyslexic. He has said in interviews his dyslexia made him feel stupid and is one of the big reasons he didn’t finish school. The man just didn’t read as fast as other students and he wasn’t a linguistic thinker. I am sure the school system was, like it is to so many other dyslexics, not kind to Mr. Wright. It is interesting however that Wright says his dyslexia is also the reason he has been so successful in the film profession. In a interview on The Telegraph Wright stated, “I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema”.
A fair question to ask is “why did Wright fail in school but find substance through the cinema?”. In order to understand you must learn a little more about dyslexia. Dyslexia is usually labeled as a learning disability. Those diagnosed with dyslexia usually have a hard time with organization, reading, writing, and spelling. The majority of school systems rely heavily on verbal and linguistic teaching creating a huge disadvantage for dyslexics. Knowing this it is easy to understand why Wright failed in the school system. However the cinema can also be a learning tool. The cinema teaches through the use of images. Through the cinema’s stories we learn lessons on politics, geography, evolution, religion, humanity, and so on.
Dyslexia is not a learning disability, it is just a different way of thinking. Dyslexics think through images. Some of the strengths associated with dyslexia are the ability to think spatially, being able to look at a problem from multiple angles, advancements in the imagination, and being able to see the big picture of any given problem or project. If you watch Joe Wright’s movies you can see how he has a firm grasp in all these areas.
When listening to Wright talk about his films it seems he relies more on instinct then any literal reasoning. He has done the research for his project but he wants to let the locations and visuals dictate the way he films. Because of this we find every frame in his movies stimulating. His main mission is to provoke emotion through his visuals. Wright never lets the details of the plot get in the way of his characters’ emotional growth. As a dyslexic myself I remember taking tests and always doing badly because I didn’t remember names and dates. What fascinated me and the things I constantly talked to my parents about were the emotions of the events I had learned about and how those impacted the people during that time period and how they related to me in the present. I understood the material but didn’t have the ability to express my understanding through writing or the the tests I took. I can imagine Wright had a similar problems.
For Wright the literal facts seem to be the farthest from his mind. In Wright’s first feature film Pride & Prejudice Wright doesn’t care about the fact that Elizabeth Bennett is at a much lower class then Mr. Darcy as much as he cares about the emotional effect that fact has on their relationship. In Hanna the whole plot point of the title character Hanna being genetically altered in order to be a better killer was described by Wright as no more then a “macguffin” (a plot device with little to no explanation, used to propel the story). What mattered is this plot point propelled us into an emotional story. We see a child grow up and emotionally go to battle with what she was made to do and what is morally right.
One of the most important things a director must be able to do is have the big picture of the film in his mind while shooting individual scenes. It has been clinically proven that dyslexics use their right brain to a much higher extant than most non-dyslexics. The right hemisphere of the brain is responsible for seeing connections that tie things together and seeing how parts relate to wholes. The beach scene in Atonement and the exploration of Skid Row in The Soloist are examples of Wright leaving the main characters entirely in order to observe the bigger picture. He is able to ground his individual stories through showing us the world around the stories.
Wright creates connections in his films in many ways, including the use of mirror imagery, musical themes, and repeating pieces of dialogue. In Hanna we see the title character use the same line of dialogue to start off the story and the end it; making us reflect on how or if the events she went on had created any change. Two of the key scenes of Atonement are when the main character Briony tells the great lie to the investigators towards the beginning of the story and the truth to the reporter at the end of the story. The lie is what sends us into the conflict the rest of the story revolves around and the truth is what resolves the story and brings the audience closure. Wright binds the two scenes by using the same framing, background, and has the main character Briony looking strait into frame both times. We instantly see how these scenes are connected and how important they are to the narrative of the story. At the beginning of Pride & Prejudice we hear the musical theme we come to associate with Elizabeth and the Bennett Family. However the same music is played by Mr. Darcy’s younger sister when Elizabeth visits Mr. Darcy’s house. Though Elizabeth and Mr. Darcy’s worlds look quite different the music unites them emotionally. Wright’s ability to understand the complete story gives him more insight on how to direct these individual scenes and connect them to the greater narrative.
No matter how much a dyslexic has worked to overcome their natural weaknesses the struggles are never completely resolved. Wright still says it takes him much longer to read a script or a book then most people. However he has found ways to change these perceived weaknesses into strengths. Wright has said, “Because I think visually, not being able to read meant that other parts of my brain were pushed further, and so when I read a book, I have to see it”. It is not a accident that three of the five movies Wright has directed have been based on literary classics. It’s not that Wright is against reading, very few dyslexics are. It’s just the words come to Wright’s mind as pictures. Wright’s ability to see what he is reading allows him to translate the written word to film in a much more visually expressive way.
There are many others who have struggled in the classroom to become some of the greatest filmmakers in history. It is suspected that the great filmmaker David Lean struggled with dyslexia as a child. He hardly got by in the school system and was constantly made fun of by peers and his father for being a slow learner. Steven Spielberg is another diagnosed dyslexic who also severally struggled in the school system. These filmmakers did not just overcome their their dyslexia they have used it do miraculous things in the cinema. I feel Joe Wright is on his way to do miraculous things in the cinema. Many would call movies like Pride & Prejudice and Atonement some of the best films of this new century. It is hard to not call his five minute shot of the Dunkirk evacuation one of the most miraculous shots in all of cinema. Wright continues to explore his art form and he is going in an ambitious direction. His last two films have been criticized for being too out there and against the grain of established cinema. However “against the grain” is a perfect description of dyslexia. We think in a different way and are often called failures in the established system because of it. However many of these school system failures, such as Steven Spielberg, Albert Einstein, and Thomas Edison, have the greatest success stories in our history.