On Apr 17, 2012, at 12:12 AM, Michael Hawksworth wrote: > Since we aren't watching the latest REF movie this summer obviously the deals > don't fit. I know D.Gemmell wouldn't allow movies of some of his works as > they also wanted the rights to use the characters how they saw fit (keep > expecting his estate to ignore this though); or at least they never made him > an offer he couldn't refuse! > > I have no idea if this is one of Rays problems (?) but I would guess once all > the remaining content is out it is much easier to part with control for the > future when you have a projection of additional income from publicity. And it > is a hell of a back catalogue for a producer to work with (although you would > think they had plenty per novel with P.O'Brien but they still chopped a bunch > of ideas together). I would also surmise that given the big producers are > cutting back on new productions that receiving an offer from someone who is > willing to do a 'proper' job on a book/theme is less rare. > > Assuming that something will eventually come about, what chance of you > getting us bit parts Ray? I could be the best fed mocker ever ;) > > > >
Unless you've either been in the film business or have been a student of it (film major, film history major, aficionado, etc.) most people make seriously wrong assumptions about how it works. The ONLY author who has ever gotten control in any meaningful way over production was J.K. Rowlings, and it was unique. She not only got script approval (if you get anything it's usually script consultation, which means they take your suggestions and throw them away) but she got director approval. Chris Columbus--who had already directed Home ALone, Mrs Doubtfire, and Nine Months among others, had to fly to London and have tea with her before he got the job. This never happens with anyone else. Not Stephen King, not John Grisham, not Elmore Leonard, nobody else. So, when you're talking to film/tv types all you can do is hope that they're not just blowing smoke when they tell you they love the work and want to do it right. If you're George Martin, with a strong TV background (GRRM was a staff writer on Murder She Wrote and head writer/story editor on Beauty and the Beast before he returned to novels) you have some leverage if you can grab a production credit (George is co-exec producer on AGOT), and have some serious input. Joe Average Novelist is more a liability at the table than a asset because a lot of time gets lost explaining to him what can and can not be done. I would be between Joe Average and George because I know the basics, but haven't worked in the business since 1966. So, the only thing you can work is the deal. If it's brilliant or horrible, at least the check doesn't bounce and you can feed your kids. So you give up useless demands for "creative control," or even "creative input" and work on getting a real slice of the profits. That's the reality. Best, R.E.F. ---- www.crydee.com Never attribute to malice what can satisfactorily be explained away by stupidity.
