A Quote by Dana Brunetti

The issue of doing an adaptation of a book is the theater of the mind, and so you always face that. — © Dana Brunetti
The issue of doing an adaptation of a book is the theater of the mind, and so you always face that.
The book [Night manager] is amazing. It is amazing to act in any book adaptation, because a book gives you so many secrets and details that don't necessarily get shot in an adaptation. They give you a cushion underneath everything. The detail in the character, the detail in the tone.
Cancel culture has always been an issue. I mean, if you look at the Book of Genesis, Cain canceled Abel. This has always been an issue, the 'I don't like you, I don't like what you're doing, I don't like the attention that you're getting, so you shouldn't be here. You shouldn't have a voice. You shouldn't have a movement.'
I've always had a foot in everything. As a kid, I was active in sports and theater. Now, I'm learning I have to focus a bit. I'm trying to get to next projects, like writing a screenplay. Once that comes together, I could put my mind to another book - maybe a fun kids' book.
I dont like going for more than a year without doing theater. I dont mind falling flat on my face so long as I feel Im open to the possibility of something extraordinary happening.
At first Disco Night wasn't meant to be a book, although I'm always thinking about that in the back of my mind. It started off as a series of exploratory road trips that I was doing with Christian Hansen, who I dedicated the book to.
I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.
I started, obviously, doing theater, and I always thought that I would; in a way, I always thought that I'd be a theater actor. When I was starting out, I didn't really plan on making films, actually.
I started in theater. I did theater professionally for seven years with my company before I started doing 'Friends.' I was waiting tables and doing theater.
We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.
Shane Salerno and I adapted my book Savages together, and I learned a lot about adaptation. I think it's an extremely difficult thing to do; adaptation might even be more difficult than writing an original screenplay. It's so much a matter of choices, making choices of what to leave in. It was an education.
The whole issue is that everyone would love to do theater, but it doesn't pay enough, so to do music theater on TV, that's the ultimate dream.
It's tricky turning a book into a movie. Sometimes people love the book so much that no adaptation lives up to what they imagined. You can avoid that disappointment by never, ever reading books.
In Michigan, if you want to act, it's local theater, it's high school theater and it's going to camp and putting on plays in the summer, and I always loved doing that. There was something that just drew me to it.
I really enjoy doing theater, but doing theater in Seattle is like dropping a brick in a bottomless well. It's gratifying, but it's almost like doing radio. It's ephemeral.
I think we sublimated our Broadway desires by doing theater in Hollywood - not on stage but by doing the movies of 'Chicago' and 'Hairspray' and also musicals on TV. We did Rodgers and Hammerstein's 'Cinderella' and 'Gypsy' and 'Annie.' Even 'Smash' was like doing theater.
I'd grown up doing children's theater there, and I always imagined myself being artistic director of a children's theater company.
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