Page 6 of 6

Re: Wish List for Book to Movie Adaptations

PostPosted: Thu Dec 15, 2011 7:30 pm
by Bloo
Ribbons wrote:
Bloo wrote:one of my favorite books is The Alienist by Caleb Carr, I'd love to see it


I actually just read an article about this very subject in Entertainment Weekly, apparently the book was being developed into a film a few years ago but Carr called the deal off when he didn't like the direction they were taking it in. Unfortunately I threw out the magazine already and the article doesn't seem to be online, but it was pretty interesting. They namechecked a couple other books (like The Corrections and Kavalier & Clay) that have had long, bumpy roads to the big screen. The Corrections is now over at HBO and will probably end up being turned into a miniseries, and Stephen Daldry (Billy Elliott, Extremely Loud & Incredibly Close) recently said he wants to do the same thing with Kavalier & Clay, so maybe there's still hope for The Alienist on TV.


I think I read that article too, it sounds vaguely familiar. But yeah they wanted to make some unnecessary changes to the story and Carr had the balls to pull it even if it meant less exposure. And I actually think it would work better as a TV series, hell I wouldn't mind just seeing a third book with these characters.

Re: OTHERLAND

PostPosted: Sun Jan 22, 2012 1:02 am
by TheButcher
Airstrike wrote:If they ever made a film out of Otherland by Tad Williams I would litterally die from hollywood people actually proving to the world that they have balls

Airstrike wrote:Otherland by Tad Williams

However no one out there seems to have the guts anymore to do hard edged, real honest-to-god sci-fi. Sad.


Warners, Lin off to 'Otherland' - Studio lands feature rights to Tad Williams' sci-fi tomes
Dave McNary wrote:Warner Bros. is heading to "Otherland," acquiring feature rights to Tad Williams' sci-fi book series and setting it up with Dan Lin to produce.

Studio has tapped John Scott III to script the film, based on the four books published by DAW-Penguin USA between 1996 and 2001 as "City of Golden Shadow," "River of Blue Fire," "Mountain of Black Glass" and "Sea of Silver Light."

Story for the adaptation is set 100 years in the future and follows a group of unexpected heroes who must escape an assassin and make their way through epic digital worlds to unravel a conspiracy that threatens to destroy humanity.

Seanne Winslow Wehrenfennig at Lin Pictures will serve as co-producer and oversee for Lin Pictures.

Lin's a producer on "Sherlock Holmes: Game of Shadows" and is in post-production on period drama "Gangster Squad," starring Josh Brolin, Ryan Gosling, and Sean Penn, directed by Ruben Fleischer. He's also producing "Lego: the Piece of Resistance," written and directed by Chris Miller and Phil Lord, with Warners planning a 2014 release.

Scott's zombie script "Maggie" made the top 10 of the 2011 Black List and was the top title of the 2011 Blood List, the top 13 most-liked unproduced screenplays in the horror, thriller, sci-fi, fantasy, and dark comedy/drama genres. "Maggie" is in pre-production with Henry Hobson directing, and Pierre-Ange Le Pogam, Matt Baer, and Trevor Kaufman producing.

Scott is also adapting Isaac Asivmov's "Caves of Steel" for Fox, also with Hobson attached to direct.

WME represents the "Otherland" book rights. Scott is repped by CAA and managed by Trevor Kaufman.

Re: The Alienist

PostPosted: Wed May 28, 2014 10:30 am
by TheButcher
Ribbons wrote:
Bloo wrote:one of my favorite books is The Alienist by Caleb Carr, I'd love to see it


I actually just read an article about this very subject in Entertainment Weekly, apparently the book was being developed into a film a few years ago but Carr called the deal off when he didn't like the direction they were taking it in. Unfortunately I threw out the magazine already and the article doesn't seem to be online, but it was pretty interesting. They namechecked a couple other books (like The Corrections and Kavalier & Clay) that have had long, bumpy roads to the big screen. The Corrections is now over at HBO and will probably end up being turned into a miniseries, and Stephen Daldry (Billy Elliott, Extremely Loud & Incredibly Close) recently said he wants to do the same thing with Kavalier & Clay, so maybe there's still hope for The Alienist on TV.


Paramount TV Inks First-Look Deal With Anonymous Content, Sets ‘Alienist’ Series
NELLIE ANDREEVA wrote:As part of ramping up operations, Paramount Television has signed its first first-look deal, a three-year production pact with management/production company Anonymous Content, which executive produces HBO’s breakout hit True Detective. Under the agreement, Paramount TV will have first-look rights to produce and distribute scripted television programming developed by Anonymous Content for broadcast, premium cable, cable and online. Paramount TV’s first project with Anonymous Content, run by managing partners Steve Golin and Michael Sugar, will be a drama series alienistinspired by Caleb Carr’s best-selling novel, The Alienist, which is set in 1896 New York. “I’ve known Steve both professionally and personally for many years, and I have enormous respect for the sophisticated and entertaining movies and television Anonymous Content creates,” said Paramount Pictures chairman and CEO Brad Grey. “As we build our television business, we are proud to welcome the Anonymous team into the Paramount family.”

Paramount TV, which was launched last summer with Amy Powell as president, recently received its first greenlight for three-hour Grease Live musical event on Fox in 2015. The studio’s development slate include an event series based on A. Scott Berg’s Pulitzer Prize-winning biography, Lindbergh; a crime drama with Joe Carnahan in the vein of Narc; a re-imagination of The Truman Show with Andrew Niccol; an adaptation of Peter Moffat’s BBC series The Village with Sundance Prods. and All3Media; a television adaptation of Ghost with filmmakers Akiva Goldsman and Jeff Pinkner; and a multi-project deal with Craig Brewer for original scripted dramas.

Anonymous Content next executive produces the upcoming Steven Soderbergh-directed series, The Knick, starring Clive Owen, for Cinemax where the company recently wrapped production on the pilot Quarry. Films currently in pre-production include Triple Nine with director John Hillcoat and The Revenant with director Alejandro Gonzalez Iñárritu, starring Leonardo DiCaprio for New Regency.

Re: Wish List for Book to Movie Adaptations

PostPosted: Thu Jun 05, 2014 4:46 pm
by Wolfpack
I'm hoping they get a Ready Player One project off the ground. That thing is chock-full of geeky 80's goodness.

Re: The Moon is a Harsh Mistress

PostPosted: Wed Mar 04, 2015 9:41 pm
by TheButcher
You Know My Name wrote:Add The Moon is a Harsh Mistress by Robert Heinlein to the list.

Bryan Singer Tackling Sci-Fi Classic 'The Moon Is a Harsh Mistress' for Fox (Exclusive)
"Arrow" exec producer Marc Guggenheim will adapt the novel written by sci-fi author Robert A. Heinlein.

Re: Ready Player One

PostPosted: Wed Mar 04, 2015 9:43 pm
by TheButcher
Wolfpack wrote:I'm hoping they get a Ready Player One project off the ground. That thing is chock-full of geeky 80's goodness.

Exclusive: Zak Penn provides an update on Ready Player One movie
Screenwriter Zak Penn talks to us about his adaptation of Ready Player One, and reveals that Ernest Cline is working on a second novel...

Re: I, Robot

PostPosted: Sun Jun 19, 2016 10:08 am
by TheButcher
Is Otto Binder and Joe Orlando’s “I, Robot” a Protest Novel?
Brian Cremins wrote:As I watched and enjoyed the new Spike Jonze science fiction film Her, I began to wonder, What would Otto Binder think of this? Although best known to comic book readers and scholars as the writer of Captain Marvel and Superman, Binder began his career as a science fiction writer, first in collaboration with his older brother Earl. The pair began publishing under the pen name Eando Binder (Earl and Otto) in the early 1930s. By the time “I, Robot,” the first in a popular series of adventures featuring the artificial man Adam Link, appeared in the January 1939 issue of Amazing Stories, Otto was writing on his own, but retained the Eando Binder byline.

In science fiction circles, Otto Binder’s best-known work remains the Adam Link series, which served as the inspiration for Isaac Asimov and for countless other writers exploring the idea of artificial intelligence. Over the course of his comic book career, Binder adapted some of the Adam Link stories for EC Comics in the 1950s and again for Warren Publishing’s Creepy in the 1960s. When Qiana invited me to contribute another guest post for Pencil Panel Page, I began to think again about her December 2011 essay “Can an EC Comic Make ‘You’ Black?” and what it might tell us about Otto Binder and Joe Orlando’s adaptation of “I, Robot” from Weird Science-Fantasy Number 27 (dated Jan.-Feb. 1955). In the EC version of “I, Robot,” Binder’s use of the second-person you places the reader in a complex position: as we read the story, do we identify with the hero, Adam Link, or with the violent mob threatening to destroy him?

In a letter to science fiction fan and editor Sam Moskowitz dated October 4, 1952, Binder discusses the scripts he’s been producing for EC Comics. He explains that he’s “gotten into the groove on thinking of [science fiction] plots for them, even if they are more simplified and corny than what would go into a pulp.” Binder then appears to reconsider his summary of EC’s science fiction and fantasy comics and adds the following parenthetical comment:
(But a suggestion….pick up a copy of WEIRD FANTASY or WEIRD SCIENCE comics sometime and read them….the comics are not too far behind the pulps in well-plotted stories, believe it or not!)


In the early 1950s, after over a decade as a prolific comic book scripter, Binder was hoping to return to the science fiction market and was looking to Moskowitz, to whom he later left the bulk of his personal and professional correspondence, for advice and support. As Bill Schelly notes in his excellent biography Words of Wonder: The Life and Times of Otto Binder, the writer had to make some adjustments to his style when he began working for EC: “Binder’s job, as he saw it, was to emulate the writing style of Al Feldstein, who always put lots of lengthy captions into the scripts. This wasn’t Binder’s normal inclination, but he did his best.” As a freelance writer, Binder survived by adapting himself and his style to suit the requirements of his publisher and of his audience. As he explained in the letter to Moskowitz, “Now I have no prima-donna qualms about accepting ideas from an editor….it doesn’t violate my lone-wolf sensibilities. In fact, in the comics, editor and writer often whip up ideas between them.”

While in both the EC adaptation of “I, Robot” and in the 1939 original, Binder employs first person point-of-view as Adam Link tells the story of his creation, by the end of the Weird Science-Fantasy version, Binder shifts to the second-person as the robot addresses his tormentors—and, by extension, those of us reading the story. On the final page of the 1955 “I, Robot,” Adam Link, wrongly accused of murdering his creator and surrounded by an angry mob, exclaims, “Beware that you do not make me the monster you call me!” In his journal, he writes, “As I finish writing this, here among blasted memories, I know that there is no hope for me. You have me surrounded…cut off. I can see the flares of your torches between the trees. Your hatred lust is aroused. It will be sated only by my death…”

Those two panels in the center of the page pose an interesting challenge for the reader: first, Orlando and colorist Marie Severin ask us to identify with Adam Link, whose long, cylindrical forehead and mechanical jaw cast distorted shadows on the yellow wall behind him. He is, for a moment, almost human, as he makes a plea not to be turned into a monster by humanity’s hatred and violence. The text that appears over the panel, however, tells us, “I hear you now, shouting outside…” While we might sympathize with the protagonist, especially after the loss of his dog Terry on the previous page (in the original story, as the mob fires on Adam, a stray bullet kills the dog), we also, for a moment, inhabit the role of the aggressor.

The next panel is even more fascinating. We share Adam Link’s point-of-view as we stare out a window at the men, most of them carrying a rifle or a torch or both. Just two panels earlier, we saw Adam Link before that same window, reading his creator’s copy of Frankenstein. Now, however, the scene has changed, and we stare with horror at the grotesque figures that approach Dr. Link’s laboratory. Again, the text box disrupts our sense of identification with the robot: he addresses us directly. We are part of the mob. As we stare out the window, we are looking not at a display of “hatred lust” and impending “death” but at ourselves, and our petty hatreds and small-minded prejudices.

“I, Robot” inverts Qiana’s original question and seems to ask, Can this EC comic transform you, the reader, into a lustful, bloodthirsty, bigoted villain? Or have Otto Binder and Joe Orlando merely held a mirror up to EC’s audience, one they hope will challenge readers to reflect more deeply on issues beyond the fantastic realm of the comic itself?

Binder addresses these issues in another EC adaptation of one of his earlier science fiction stories, “The Teacher from Mars,” also drawn by Joe Orlando and colored by Marie Severin for Weird Science-Fantasy Number 24 (dated June 1954). As Schelly points out in Words of Wonder, Binder selected “The Teacher from Mars,” first published in Thrilling Wonder Stories in 1941, for Leo Margulies and Oscar J. Friend’s 1949 collection My Best Science Fiction Story, which includes stories from Isaac Asimov, Robert Bloch, and Harry Kuttner. In his introduction, Binder explains that “the story,” in which human students abuse and terrorize their Martian teacher, “was a good medium for showing the evils of discrimination and intolerance. Sadly enough,” he continues,
we have not yet eliminated those degrading influences on our world. The Martian in this story is the symbol of all such reasonless antagonism between “races.” Not that I wrote the story solely for that reason. It just happened to strike me as the best “human interest” approach. The “moral” was incidental.


In most of his work, from the Captain Marvel stories of the 1940s through his Superman narratives in the 1950s and even his scripts for Gold Key’s Mighty Samson in the 1960s, Binder again and again sought to explore what he refers to as the “‘human interest’ approach.” As Bill Schelly has argued in his comments on “The Teacher from Mars,” “Though Binder denied that the anti-discrimination sentiments in the story were his main reason for writing it, they are there nonetheless.” Therefore, is the “moral” really “incidental” in “I, Robot” or “The Teacher from Mars”? And what does Joe Orlando’s work bring to these comic book versions of Binder’s original short stories?

The EC version of “I, Robot” raises interesting questions, not only about adaptions of prose works into comic book form, but also about the moral imagination of creators like Binder and artist Joe Orlando. The complexity of the point-of-view in Adam Link’s narrative might be read in light of a passage from James Baldwin’s essay “Everybody’s Protest Novel”:
The failure of the protest novel lies in its rejection of life, the human being, the denial of his beauty, dread, power, in its insistence that it is his categorization alone which is real and which cannot be transcended.


How might Baldwin’s critique of Uncle Tom’s Cabin and the “protest novel”—a work of fiction that sets out to raise consciousness and fight social injustices—help us to read the many versions of Binder’s “I, Robot”?

One possible answer is this: because the story of Adam Link is a very obvious fiction, one built, as Binder himself admitted in the January 1939 issue of Amazing Stories, on Mary Shelley’s Frankenstein, it makes clear its status as a work of the imagination—that is, as a text (you can read more of Binder’s introduction to the original “I, Robot” in Schelly’s biography). “I, Robot” makes no claims to realism or verisimilitude. It might be read simply as an engaging adventure, or as a moral lesson on our jealousy, hatred, and ignorance. But we might also place the multiple versions of Binder’s story in dialogue with each other as well as with other texts from the era in which they first appeared. The January, 1939 issue of Amazing Stories, for example, appeared just a few months before the first publication of James Thurber’s “The Secret Life of Walter Mitty,” another relic of the period that continues to fascinate American audiences in the form of Ben Stiller’s new film. As we explore the shape and the dimension of the society in which Binder lived, we have an opportunity to investigate how his America shaped our own. And as we read this comic book from 1955, Adam Link continues to address us, even now, as, in the closing lines, he remarks, “Ironic, isn’t it, that I have the very feelings you are so sure I lack?”

Last week, after we saw Her at the Landmark on the corner of Clark and Diversey in Otto Binder’s old hometown of Chicago, I wondered, What would Binder have thought of this 21st-century story of the love between a middle-aged man and his operating system? And what does Binder’s “I, Robot” in all its forms—from the original story to the later EC Comics and Creepy versions to the novel Adam Link—Robot Binder published in 1965—ask of us as modern readers and as comics scholars?

Re: I, Robot

PostPosted: Fri Oct 07, 2016 9:33 am
by TheButcher
WIRED:
How Alex Wells created the gorgeous artwork of a new edition of Asimov's I, Robot

Re: Robert Jordan’s WHEEL OF TIME

PostPosted: Fri Apr 21, 2017 4:59 am
by TheButcher
Carolian wrote:I really think that, if the screenplay was tight enough and the budget was high enough, THE WHEEL OF TIME would indeed make a great series. Really, if you cut out a lot of the bickering and the "Mat/Rand/Perrin never has this problem with girls" stuff, there's a good 3-hour movie to be made out of each book there. Whether the public will continue to swallow large-scale fantasy, I don't know. NARNIA seems to be doing well, but...

Fawst wrote:Now that I think about it, I've only read the Zahn trilogy, the Jedi Academy trilogy (good stuff), and ... that's it. Oh, and parts of the Bounty Hunter anthology.

I suggest... THE ENTIRETY OF THE WHEEL OF TIME!!! :D :D :D

Robert Jordan’s WHEEL OF TIME Series Is Headed For Television
No, for real this time.