A Quote by David Nicholls

An adaptation leads the cinema-goer to the original to find out what they're missing and if they already know the book, it can still illuminate a theme, a character, an idea.
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.
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.
I've had stuff of mine adapted by other people, so I've come to the conclusion that a movie is a different form from a novel and there is no such thing as a true adaptation. You have to adapt to this other thing and do it right. But that voice of the original should somehow still be there, and the original intent should still be there. So if the original writer saw the movie, the writer would say, "Well, that's not what I wrote, but that's what I meant." And if you can do that, I think you've done your job as a screenwriter.
I'm not a great cinema-goer.
I've often had the fortune to work on projects with a small theme I find very interesting enough to pursue and to be passionate about in the context of the story, then it may turn out there's a universality about my character which still resonates with many people as well.
I've always been open to the idea of an adaptation that does its own thing, that freely diverges from the original as long as it's true to the spirit.
Keep on the lookout for novel ideas that others have used successfully. Your idea has to be original only in its adaptation to the problem you're working on.
The original theme of 'Beauty and the Beast' is don't judge a book by its cover. Love what's inside.
It's terrible for people when they really love a book and there's an adaptation and they don't like it, because it's almost like you have this personal connection to the original material.
I wanted to make a film about anorexia. I thought about it for a long time, but then gave up on this idea as I felt that this theme would be so hermetic and closed that it would not reach an audience. However, the plot about the character of Olga and the idea that a body has a lot of different meanings were still present in my mind.
An idea you have might not be original. But by creating a novel out of that idea you can make it original.
If I'm alone at home, I get increasingly restless, bothered by the idea that I'm missing some crucial encounter out there somewhere. But if I'm left by myself in someone else's place, I often find myself a nice sense of peace engulfing me. I love sinking into an unfamiliar sofa with whatever book happens to be lying nearby.
I had no idea that 'Less Than Zero' was going to be read by anyone outside of Los Angeles, and it's - believe me, as the writer of the book I'm somewhat amused and intrigued by the idea that 25 years later it's still out and people are still reading it.
As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
I'm trying to find these rare moments where you feel completely illuminated. Facts never illuminate you. The phone directory of Manhattan doesn't illuminate you, although it has factually correct entries, millions of them. But these rare moments of illumination that you find when you read a great poem, you instantly know. You instantly feel this spark of illumination. You are almost stepping outside of yourself and you see something sublime.
Thus, races arose from an original coding which God pulled out as needed for adaptation to the environment.
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