A Quote by Erin Cressida Wilson
It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience.' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.
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Adapting a book doesn't mean the book stops just because you've made a film out of it.
I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.
I wish I could write a beautiful book to break those hearts that are soon to cease to exist: a book of faith and small neat worlds and of people who live by the philosophies of popular songs.
Getting a book published made me feel a little bit sad. I felt driven by the need to write a book, rather than the need to write. I needed to figure out what was important to me as a writer.
Getting a book published made me feel a little bit sad... I felt driven by the need to write a book, rather than the need to write. I needed to figure out what was important to me as a writer.
Literally, the piece at the end is where the universe is cracked apart, it's a big moment. Basically, they, the filmmakers, have directed the story earlier in the book. It happens, it's called adapting a book, you have to make decisions about things. It's not unusual having to cut out scenes.
When a librarian really believes that a book is harmful, that its content is contrary to the welfare of the community, or that it is destructive of good taste, even if those are his opinions only, he has not only the right, but also the obligation to do what he properly can to keep that book out of the hand of those whom he thinks might be injured by it.
The gaslight of the film [The Girl On The Train] became something that really needed to be dramatized more than the book did, because it wasn't going to read as strongly on screen.
All I can say is that I am not one of those writers who want 100% of their book in the film. I recognize that film is a different medium and the filmmaker must have the right to bring some new elements to the table, provided the soul of the book is preserved.
Wayne Wang, the director of Because of Winn-Dixie the movie, understood the book and transferred as much of the feeling of the book onto film as humanly possible. I think he did a fabulous job. And also I'm thrilled because the movie brings people to the book - people that wouldn't know about the book - and that's a great thing.
Obviously it's easier when I' m doing the adapting myself. But my feeling is, your potential upside far outweighs the downside. Ultimately, they [moviemakers] can't change your book. Your book remains on the shelf the way you wrote it. If they make a great movie of your book, then you have the equivalent of millions and millions of dollars of advertising for your book. If the movie's not that good, that doesn't mean the book's not good. It doesn't change what you've already written. It has the potential to reach more people.
I needed to enhance the outward threat to Rachel.In the book [Girl on the Train], her inner threat is so strong; the fear of herself and her inability to remember and the false memories. In the film [Girl on the Train]I wanted to increase the exterior threat. So that's why Allison's part was bigger and was an important part of the climax of the film.
It felt like the first thing, but when I first started out, I got a job adapting a book by Russell Banks called 'Rule Of The Bone.' I didn't do a very good job. I didn't really know what I was doing in general, let alone how to adapt a book.
It's like so great to be in Toronto and to see everything that's in the books and everything they reference and to be able to hang out in those places and go to those bookstores and those comic book stores and those music stores, and like have that, from the books onto the screen, is so cool and I'm glad to have been part of that.
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."
I was 8 years old when I went across the street from my house to a fair, and they always had a used book sale. For a quarter I bought a book called 'Come On Seabiscuit.' I loved that book. It stayed with me all those years.
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