Sarah Weinman Quotes

It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.

At one point, some years ago, a nice gentleman had it in mind to do 'Outlander' the musical. His idea was to start with a CD of what you call a song cycle, with a dozen high points of the projected show. It turned out very well, though we had to stop doing it when the TV show came along.

I'm glad nobody has asked me to adapt 'Wuthering Heights' because I think I would make a mess of it. Everybody makes a mess of it. I think the Bronte Sisters are mad.

The phone conversations about a possible TV series of 'Jonathan Strange & Mr. Norrell' stretch back years, but now that the moment has come, now that I am actually here at Wentworth Woodhouse, I lose my bearings.

Most writers are unhappy with film adaptations of their work, and rightly so. 'Field of Dreams,' however, caught the spirit and essence of 'Shoeless Joe' while making the necessary changes to make the work more visual.

I adapted an O. Henry short story called 'By Courier,' which got nominated for a Best Short Subject Oscar.

To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.

I first had the thought about making a musical of 'Edwin Drood' as far back as 1971.

I've known since day one of working on 'Spring Awakening' - back in 1999 - that it was special.

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.

I've tried to pitch 'Borgen - the Musical,' but they just won't listen to me!

A friend of mine, Neil Gaiman, had the film rights to his book 'Stardust' bought by producer Matthew Vaughn and suggested I adapt it for the screen.

What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway.

I think it's always a challenge to adapt a beautiful literary work into a fresh and alive film.

The summer I got to Pittsburgh for graduate school, I house-sat for a Ph.D. student who had a lot of books. One of the books that I found was 'Lolita' by Vladimir Nabokov. That was eye opening. I've probably read it every other year since my 20s.

I grew up in musicals actually, and the last show I did in Dublin, 'Alice in Funderland', was a musical, and one that was written around my voice, which was nice.

The one that I've always wanted - and I have Scott Rudin in my way blocking it - is 'Blood Meridian,' which Cormac McCarthy has offered to adapt into a screenplay.

There will be great books. There will be great films. Sometimes, if we are lucky, the two will intersect.

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

When Peter Schneider first approached me about adapting 'Sister Act' for the stage, it wasn't a slam dunk to say yes.

In general, each form is a relief from the other forms. I can't write a novel after a novel. I just use up all the material each time, and I need to rest.

I have a lot more writing experience than Paul Dano has, so to be able to put that experience to use in exercising his vision was almost an acting exercise: How would I write if I were Paul? When I look at it, it feels so completely his, but it's also mine.

Most artists have retired too absolutely; they grow rusty, inflexible to the flow of currents.

You realize there are certain things that you'll never do that you always thought would be part of your future. It's a big relief to discover what you are best suited for, and it's a real advantage to be able then to focus.

David Mamet, Tim Kazurinsky, and Denise DeClue, who adapted [ About Last Night]. Between the three of them... I mean, it's always down to the writing. You're only as good as your writing.