Book Adaptation Quotes & Sayings

I think that my main criticism in that book was directed at the general assumption that adaptation characterizes populations and species, rather than simply the individuals in the populations and species. — George C. Williams

I firmly believe that you can't get a good movie without risking a bad movie. A good adaptation of your book is worth it because it is such a wonderful experience to see your world translated onto the screen. — Cassandra Clare

An adaptation leads the cinema-goer to the original to find out what they're missing and if they already know the book, it can still illuminate a theme, a character, an idea. — David Nicholls

In general, my own experience of writing an adaptation of 'Evening' gave me a chance to get into different parts of the book. — Susan Minot

The issue of doing an adaptation of a book is the theater of the mind, and so you always face that. — Dana Brunetti

The book [Night manager] is amazing. It is amazing to act in any book adaptation, because a book gives you so many secrets and details that don't necessarily get shot in an adaptation. They give you a cushion underneath everything. The detail in the character, the detail in the tone. — Tom Hiddleston

Often in the past, there have been authors that were deeply disappointed in their adaptation, but that's because they haven't accepted the fact that a movie is a different thing, and it can't possibly be the same as the book. — Lois Lowry

In 1916, Universal Studios released the first filmed adaptation of Jules Verne's novel '20,000 Leagues Under the Sea.' Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies' version bears no resemblance to the book. — Kage Baker

'Clueless' is an adaptation of 'Emma' by Jane Austen. It works either way: if you know the book and if you don't. — Jason Moore

I felt that Lionsgate really understood the material and that they would let us make a faithful adaptation; that they wouldn't soften it, they wouldn't age up the characters, to make them older so that it would be more palatable. I felt that the power of the book was in the youth of these protagonists and that you couldn't cheat on that in terms of their age in the story. Lionsgate was on board for, of course, the PG-13 version of the movie, not something full of blood and guts, but something more thematically driven. -Nina Jacobson, pg. 14 — Kate Egan

It's tricky turning a book into a movie. Sometimes people love the book so much that no adaptation lives up to what they imagined. You can avoid that disappointment by never, ever reading books. — Craig Ferguson

Personally I don't think there's any real intrinsic difference between comic books, movies, theatre, novels. I know there's sure to be some differences of some sorts. I've worked on novels, films, and video games, and in an adaptation, I guess one of the issues is that I have to be in love with the thing I'm adapting before I do it. So that can cause a problem. You can be too scared of it. You could be too reverential. But at the same time you want to try to capture this thing that you're obsessed by. You're fixated for a reason. What's the reason? You try to get ahold of it. — Alex Garland

A stage adaptation of The Giver has been performed in cities and towns across the USA for years. More recently an opera has been composed and performed. And soon there will be a film. Does The Giver have the same effect when it is presented in a different way: It's hard to know. A book, to me is almost sacrosanct: such an individual and private thing. The reader brings his or her own history and beliefs and concerns, and reads in solitude, creating each scene from his own imagination as he does. There is no fellow ticket-holder in the next seat. The important thing is that another medium
stage, film, music
doesn't obliterate a book. The movie is here now, on a big screen, with stars and costumes and a score. But the book hasn't gone away. It has simply grown up, grown larger, and begun to glisten in a new way. — Lois Lowry

Throughout his last half-dozen books, for example, Arthur Koestler has been conducting a campaign against his own misunderstanding of Darwinism. He hopes to find some ordering force, constraining evolution to certain directions and overriding the influence of natural selection. [ ... ] Darwinism is not the theory of capricious change that Koestler imagines. Random variation may be the raw material of change, but natural selection builds good design by rejecting most variants while accepting and accumulating the few that improve adaptation to local environments. — Stephen Jay Gould

The present era grabs everything that was ever written in order to transform it into films, TV programs; or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold. — Milan Kundera

I think a successful adaptation rises or falls on the work presented. If people need to read the book to understand the play, I didn't complete the job. — Jeff Britting

While not my personal favorite of the Disney princess films, 'The Little Mermaid' wins hands-down in my book for best Disney adaptation. Little girls waited for more than 150 years for Hans Christian Andersen's 'The Little Mermaid' to have a happy ending. Walt Disney finally gave it to her. — Alethea Kontis

Not everybody can do the comic book adaptation thing and make it believable. It is challenging. — Wesley Snipes

Among the things most characteristic of organisms--most distinctive of living as opposed to inorganic systems--is a sort of directedness. Their structures and activities have an adaptedness, an evident and vital usefulness to the organism. Darwin's answer and ours is to accept the common sense view...[that] the end ("telos") [is] that the individual and the species may survive. But this end is (usually) unconscious and impersonal. Naive teleology is controverted not by ignoring the obvious existence of such ends but by providing a naturalistic, materialistic explanation of the adaptive characteristics serving them. [Book review in "Science," 1959, p. 673.] — George Gaylord Simpson

They give me the money, I give them the book. Having input into the adaptation would be kind of like selling a house and coming back three years later and saying, 'Paint it this color!' — Robert B. Parker

I did an adaptation for a movie called 'The Devil in the White City' by Erik Larson for Warner Brothers. I love that book. — Graham Moore

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, 'No, I'm not interested.' I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: 'the book is so much better than the film. — Paulo Coelho

I wrote a letter to Thomas Pynchon asking, Can I have your permission to try to make an [adaptation] of your book? And I had no idea that he would answer me, because he's pretty elusive. But he did send a letter back that said, Yes, you can do that - as long as the only instrument in the opera is a banjo. I thought, That's an interesting way of saying No. — Laurie Anderson

Working on an adaptation is not as satisfying, because it's not your original work: you're interpreting. With 'L.A. Confidential,' I loved the book. In that case, I felt I was guardian of the work, staying as true to the novel as I could. I've since met the novelist, and he loves the movie and the script. — Brian Helgeland

If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think. — Marjane Satrapi

Here's how adaptation works - almost everything in the movie is in the book in some form. But it's as though the deck has been completely reshuffled and some of the cards have been assigned different values, some of the fours have been made into jacks, and some of the jacks have been made into twos. — Walter Kirn

My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point. — Alan Moore

I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original. You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving. — Alexander Payne

Adaptation of books is never a success. When the author wants to make it, it's even worse. — Marjane Satrapi

My ultimate goal is to drive people back to the books, when I think of an adaptation. — Lev Grossman

Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it. — Akiva Goldsman

Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me. — Emma Thompson

But this month is all about CITY OF JASMINE which I hope you already have in your hot little hands. My favorite review snippet? KIRKUS REVIEWS said it's "part screwball comedy".
I can't tell you how much time I spent with Carole Lombard and William Powell and Irene Dunne when I was writing it. I adore the 30s comedies for their light-hearted take on relationships and adventure - and the glamorous settings and occasional dash of intrigue only heighten the magic. (Did you know that Nicholas Brisbane from my Lady Julia series was named for THE THIN MAN's Nick Charles? And apologies to Dashiell Hammett, but I fell in love with the film long before I read the book and appreciated how much it had been lightened in the adaptation!) So when you're reading CITY OF JASMINE, give some thought to who you'd like to see playing Evie and Gabriel - I'd love to hear who you'd cast in your own production. — Deanna Raybourn