THE ESSENTIAL QUENTIN CRISP
Treatment for a Documenatry Film by L. Brandon Krall

Style is an idiom arising spontaneously from the personality but deliberately maintained. It is not stylishness; above all it is not something snatched out of the air and donned to shock or shame the neighbors. Mr. Oscar Wilde, considered by some to be the great expert on this subject, said that, in matters of importance, it was not sincerity that mattered but style. To the true stylist they are the same thing... You need to cultivate a life-style first for your own benefit - to give you a firm belief in your own identity and to prevent you from importuning others for their approval to make up for your lack of self-esteem. In the end you have only one thing to offer the world that no one else can give, and that is yourself.
How to Have A Life-Style by Quentin Crisp

Mr. Crisp's Zen-Camp philosophy of life is the central theme of The Essential Quentin Crisp. What is essential to grasp is his approach to the 'world as a stage,' his existential philosophy whose central themes carry interesting similarities and differences to those of Duchamp and Warhol. Crisp's observations about what Art is will be examined along with an in depth look at his sense of glamour and his truthful but dark sense of humor.

The Essential Quentin Crisp is a documentary that would be completed in two versions: one of 52' to 58' minutes for television, and a 90' plus feature, for film festivals and theatrical release. Both would combine existing and archival footage with newly filmed interviews, commentary and montage as outlined below.

A best case scenario would have John Hurt, Tilda Swinton and Susan Sarandon (whom Crisp considered one of the best real actresses of our time) as joint masters of ceremony, combining the roles of hosts and narrators. Redefining the standard envelope of film hosts by both interacting with guest and being principals who knew Crisp or channel his witticisms. They would read selections from Mr. Crisp's often hilariously clever writings as voiceovers for use in the overall narrative.

Important in gathering new material would be to hold receptions in London and New York for the purpose of bringing invited persons together where the guests would share anecdotes, images, thoughts and emotions about Mr. Crisp. Director of Photography would be Gerard Schmidt if possible and Albert Maysles has expressed his desire to be a camera person, in filming these gatherings.

Licensed Footage: Jonathan Nossiter's uncut footage from Resident Alien, segments from Sally Potter's Orlando and an exceptionally affable interview fIlmed a few months before his death by Steven Watson and Ernesto Guerra is available to be licensed. In the Watson footage Crisp is seated before two very large, brilliantly colored Warhol "Marilyn" prints, and he discusses subjects including how to apply make-up, and how to succeed as a television personality. He also reveals for the first time, unexpressed feelings he experienced as a young man, who was regularly attacked in London for being an openly effeminate gay man in the 20s-60s. An Evening with Quentin Crisp is inherantly part of this project as it was filmed under agreement with Crisp in 1999 by L. Brandon Krall. New Agreements with the estate would have to be negotiated.

In the important matter of a musical score and sound track; broadly acclaimed composer Carter Burwell has expressed an interest in working on this film. The song An Englishman in New York by Sting would be licensed. Somewhere a musical setting for some of Mr. Crisp's verse, obscure as it may be, would be found for consideration and to be combined with recordings of popular muic of his times to devise the soundtrack.

The Twenty first centry needs to know the useful and delightful "messages of hope" that The Essential Quentin Crisp have to offer.

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