I'm lost in work. Rewriting a script, working on a new novel, and editing manuscripts for clients, plus we are going away this weekend because it is Hoboken's annual drunkfest, um, I mean pre St. Paddy's holiday. The city opens the bars at six in the morning and lots of clueless idiots from the suburbs or NYC take the subway in to line up so they can be the first one to have fisticuffs, vomit in the street, terrorize the store owners, get nastily sexually agressive or stupid, and clot up the streets. It's single digit IQ time. Why does the city allow this even though they say they have zero tolerance? Betcha it's because they made thousands in revenue from tickets last year.
I'm really having trouble with this script. It's from a story I wrote which everyone seemed to love, but the script is hanging me up. I've been told I wrote it like a novelist. I've been told it doesn't have a world view (but that was quickly disabused by none other than my hero John Truby whose book The Anatomy of Story everyone should read.) All this got me thinking about how things adapt, especially after reading the script for The Other Boleyn Girl, which It hought was a great script, and then reading the reviews for the film, which aren't very good. How can you ensure that things transfer well from one medium to another? Or is it just impossible to know until you do it?
There's no way in the world to ensure that what you write will be, in fact, what you see in the movie. Give up the notion, sooner than later; life will be a lot sweeter for it. Welcome to collaboration.
ReplyDeleteSigh. I know you're right. Screenwriters have one vision, directors have another and actors and actresses yet another. And oh wait, the cinematographer. Well, I'll still be absolutely thrilled then whatever gets up on screen. (If it gets up on screen, that is...)
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