A Quote by Allison Pearson

It is customary for the writer to sneer that Hollywood has traduced their book. Well, I adore my film. — © Allison Pearson
It is customary for the writer to sneer that Hollywood has traduced their book. Well, I adore my film.
I adore book-to-film adaptations when they're done well, and I'm more lenient than many readers when it comes to what counts as 'done well.' For me, the most important thing is that the film maintains the spirit of the original book.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with my characters], book after book.
That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.
A book is one kind of an art form and a film is a different art form. I think as a writer you just have to say, well the book is one thing, and the film is a completely different one.
The sure foundations of the state are laid in knowledge, not in ignorance; and every sneer at education, at culture, at book learning, which is the recorded wisdom of the experience of mankind, is the demagogue's sneer at intelligent liberty, inviting national degeneracy and ruin.
As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
A man can write one book that can be great, but this doesn't make him a great writer-just the writer of a great book. . . I think a writer has to extend very widely, as well as plunge very deep, to be a great novelist.
I'm not Mr. Hollywood. I'm a book writer.
I write a book a year while creating TV and film projects. And being a writer isn't just writing: I have to chase down paychecks and manage foreign tax payments. I maintain a vibrant relationship with readers and bloggers. And when it comes to Hollywood, I typically have to have fifteen business meetings in the hopes that one leads to a project.
My first book, 'When You Were Mine,' got optioned for film and went into preproduction as 'Rosaline.' That was the classic model: Hollywood calls, options book, and that's it. You sign on the dotted line.
That's one of the many things about having the bookstore that I adore. I can walk into the store and say to somebody, "I'm glad you're reading this book" or "I'm glad you're getting this book" or "Don't get that book. I read that book and hated that book. Let's get you this book instead."
Well cult is a word you would never say in Hollywood. In any film business, if you're trying to get your next film made, you would never say, "Oh, my last film was a cult film." I'd say, "Oh great, well I hope this one isn't!"
I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.
It was 1996 and I was at a crossroads in my career. I had been working in Hollywood as a writer and was very unhappy. I had pitched an idea for a book some six months earlier, and the book packager, Joost Elffers, wanted me to write up a treatment for it.
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