Indeed, some of the worst screen adaptations are the ones where the book was so popular and well known that the filmmakers were afraid to deviate from it enough.
#Christopher kyle screenwriter movie
It’s like saying the steak isn’t as good as the bicycle-they’re totally different things! The movie may be good or it may be bad, but its lack of fidelity to the novel is not the reason. So I really do hate it when people say the movie isn’t as good as the book. There are many reasons for this but two of the biggest are point-of-view (a novel often puts the reader inside the character’s head and it’s very hard to do this in a film) and breadth of storytelling (a novel can have many more subplots or multiple narratives than a movie has time for). It may be similar to the story of the novel or it may not, but you can’t let yourself become tied to the novel’s structure because often, it simply won’t work on film. So I comb the novel for characters, sequences and story elements that I think would work cinematically and then I craft them into a dramatic story. I think a screenwriter has to regard the novel less as something to “translate” into the screen, and more as raw material that’s going to be refashioned into an entirely different art form. As much as I respect the authors I’ve worked with, what makes a novel work and what makes a movie work are just so different. When adapting an already successful book like The Tyrant, how do you manage to create something unique without deviating too far from the original author’s intentions?ĬK: It may sound odd, but I don’t really think about the novelist’s intentions much. You’ve done so with Serena and Small-Minded Giants, too. MM: This isn’t the first time you’ve adapted a novel. Because no matter how good the script is, you’re going to need someone to push it up the hill. The best kind of movie to write is one that’s somebody’s passion project-star, director, producer. The other thing that intrigued me about The Tyrant-aside from the material itself, of course-is the crazy determination his fellow producer Fabrizio Boccardi has to get this movie made. He’s a very smart producer and when you find one of those, you want to work with him as much as possible. Is he the reason you found yourself involved with the film?Ĭhristopher Kyle (CK): Yes, Moritz is a big reason I got involved with this. Graves) to produce The Seven Sins: The Tyrant Ascending. Michael Walsh (MM): Moritz Borman was a producer on two of your most successful screenplays- K-19 The Widowmaker and Alexander. In an exclusive interview with MM, Kyle talks of his writing techniques, the invaluable relationships he’s formed and the advice he has for aspiring screenwriters struggling to find their own identity in the world of moviemaking. Kyle’s latest screenwriting endeavor, The Seven Sins: The Tyrant Ascending is an adaptation of Jon Land’s 2008 novel of the same name.
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