A Quote by Julian Fellowes

I think it's always a challenge to adapt something from one medium to another - a novel into a film or a play into a movie or whatever. — © Julian Fellowes
I think it's always a challenge to adapt something from one medium to another - a novel into a film or a play into a movie or whatever.
It's always a challenge to adapt a novel for screen, a visual medium.
Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.
There are always differences when you adapt a novel to a film. A novel is longer so you're automatically cutting out elements and introspection but this is actually a film that stays very close to the novel.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
. . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film.
I think as an actor it's always a challenge to experiment and play something that you're not. What's the point if I play Shefali in every film?
I think it's always a challenge to adapt a beautiful literary work into a fresh and alive film.
I try to approach the film medium as a novelist and the novel medium as a filmmaker on some level. It's that question: Do we think in pictures, or do we think in language? And the novelist believes one thing, and the filmmaker believes another thing - and I'm fascinated by that balance.
I have to say that whatever decisions I make, I really do think that movie making is a director's medium. They are the people that ultimately shape the film, and a director can take great material and turn it into garbage if they are not capable of making a good movie.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
It's not always possible to play a song exactly as it is on the album. That's also something that I really don't want to do because I like to have versions that also adapt to the band, so that is always a big challenge to see how we can transform those songs so it feels natural.
I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century.
I think that's a big challenge in the NBA: How quickly can you adapt? Because things always change in the league - whether it's trade, free agency, an injury, you have to adapt quickly.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.
I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel you can get right inside somebody's head.
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