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In Reply to: Let's put this one to bed; on some points we'll just have to agree to disagree, but here's my closing argument. posted by Audiophilander on November 28, 2007 at 00:57:59:
"While I won't argue the obvious (that each situation differs), the fact that an author won a Pulitzer prize does not automatically make his/her work more marketable as a film property. You appear to be making more assumptions than I in this regard because my argument doesn't rely on who negotiated for what."
That is not what I am suggesting. I am suggesting that receipt of an award such as a Pulitzer Prize generally brings with it, or is a reflection of, success as a writer. Success that generally involves financial rewards. Financial rewards that mean an author does not need movie treatments to bring home the bacon. Not that they become more marketable to studios. Given that studios release films such as Deuce Bigalow tells me that the quality of the author's work is not always that important. Not that any author dreamed up Deuce Bigalow.
The other aspect of the Pulitzer is that an author may, well, get a swelled head, and feel that their stories and prose is beyond modification. Heck, it is perfect if they dreamed it, and, well, you can't improve upon perfection.
"If you are the author, 'maybe' you can afford to stand on principle, but if you're the Coen brothers it's a much more expensive proposition, and you either negotiate or walk away, find another property and new backers. One thing is for sure: the filmmaker decides what will fly and what won't or he/she won't proceed with filming."
I am think we are maybe making progress. The author can stand in principle. Let's say that McCarthy tells the Coens, hey, you need to film the ending as I have written it. Could the Coens conclude the story is so good that an ending which some, but not all, feel is somehow something of a letdown enough for them not to buy the rights and make the film? I do not recall anyone ever arguing that they thought the film was so good until the last fifteen minutes that the ending made the film a waste of time. Maybe a letdown, or not as good as it should have been. So, the Coens could very well look at the project as one which the ending will not cost them bucks, and they buy the rights anyway.
"My knowledge is based upon a modest knowledge of the industry (which, no offense, is still more extensive than your's), the negotiations I'm privy to concerning my wife's series and common sense."
No offense. I'm perfectly willing to criticize a film, only not willing to blame a film maker for the presence of an ending, as opposed to how the ending was filmed, where there is more than one possible explanation for the presence of that ending. The questions is not your knowledge versus mine. The question, since you raised it, is the extent of your knowledge into the negotiations between the Coens and McCarthy based upon dealings involving your wife and other persons in the film industry. Those may or may not be relevant. Merely having them does not give you more insight into the particular dealings between the Coens and McCarthy.
"I'm not saying whether the author is or isn't responsible in some capacity for the less than satisfactory conclusion of NCfOM, but regardless of who made the decision to film it that way ultimately it is the Coen's who must bear both credit and criticism for what ends up on the screen."
I will not dispute that. If McCarthy tells them he sells them the rights only with the ending, and they still buy the property, and then film the story, they are indeed responsible for what appears on the screen. The question, though, is if their choice was make the film with the ending, or not to make the film, then what choice would you make? Even if they went to McCarthy and said "pretty please, with sugar and a cherry on top."
We know what they chose to do. And you can criticize them for that choice. But critism is easy. I guess I am asking the hard question. What you would you have done? Suggeting further negotiations is easy. At some point, negotiations end, and a choice must be made.
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Follow Ups
- RE: Let's put this one to bed; on some points we'll just have to agree to disagree, but here's my closing argument. - jamesgarvin 10:43:45 11/28/07 (2)
- Looks like he may have sold the rights before the book was written. - sjb 11:58:59 11/28/07 (1)
- I have to concur with Allen Barra's review; he pretty much nails it. (nt) - Audiophilander 10:03:54 11/29/07 (0)
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