I think it depends on the situation. Every adaptation is different and presents its own unique set of challenges. IMO, though, typically the closer the screenwriter sticks to the source material, the better the final film will be. Of course there are always exceptions. Imagine how bad Jaws would've been if the screenwriters had stuck closely to Benchley's novel.Which opens up an interesting dialogue -- is an adaptation a creative pact with the source material or can it be usefully applied as a jumping off point?
I encourage you to read Brin's comments at the link. He was actually rather happy with the final movie; it's Roth's drafts he hated.But it was actually close to the source material.
I actually read it. It's a great article. And that's what I meant in the comment above: Brin hated Roth's draft, but he liked Helgeland's draft, which was close to its source material.I encourage you to read Brin's comments at the link. He was actually rather happy with the final movie; it's Roth's drafts he hated.
Eric Roth and Brian Helgeland drafts of Cleopatra were almost part of the Sony Hack leak, but half of the attachments were dead, including their Cleopatra drafts, true Ghostbusters 3 etc.Yes, Eric Roth scripts are always an immersive read. His africa script still blows me away. I’d kill to read this or his Cleopatra