A Quote by Bernhard Schlink
As an author, you can't expect a movie to be an illustration of the book. If that's what you hope for, you shouldn't sell the rights.
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A presentation copy...is a copy of a book whoch does not sell, sent you by the author, with his foolish autograph at the beginning of it; for which, if a stranger, he only demands your friendship; if a brother author, he expects from you a book of yours, which does not sell, in return.
It's good when someone comes to a book or a movie and interacts with it. It's the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.
I know a movie and a book are two different things and you are going do different media in different ways. No author can want a movie to be exactly like the book because then it will be a bad movie.
There's always a slight tension when you sell a book to Hollywood, especially a nonfiction book. The author wants his story told intact; the nonfiction author wants it told accurately.
I want to be an author/director and I'm writing my second book now and I want to make a movie of it, and I hope I get to do this for the rest of my life.
When you sell a man a book you don't sell just twelve ounces of paper and ink and glue - you sell him a whole new life. Love and friendship and humour and ships at sea by night - there's all heaven and earth in a book, a real book.
The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.
Unfortunately, the author of a book pretty much gives up control of the story when the producers take over a book to make it into a movie.
I'm a big illustration and comic book fan. In my eyes, comic books and illustration are the same kind of art forms.
If you sell the film rights to your book, it doesn't mean there will be a film. I have sold the rights to five books and had zero films made. Take the money and be thankful.
You can't write a book and just expect it to sell itself, you know. We're not building that better mousetrap and waiting for the world to beat a path to our dear. You've got to build a market for your book.
An author writes a book, and that's the book at that point. And if the author writes the book again, then somehow something has gone wrong, if you see what I mean.
I think as an author you have to allow a movie to be separate from the book. It's an entirely different animal. I almost never mind when a movie changes or cuts something - as long as it helps the film work better.
No one really knows the value of book tours. Whether or not they're good ideas, or if they improve book sales. I happen to think the author is the last person you'd want to talk to about a book. They hate it by that point; they've already moved on to a new lover. Besides, the author never knows what the book is about anyway.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
The fact is that the intrinsic worth of the book, play or whatever the author is trying to sell is the least, last factor in the the whole transaction.
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