Kristin Davis Quotes

Here's how adaptation works - almost everything in the movie is in the book in some form. But it's as though the deck has been completely reshuffled and some of the cards have been assigned different values, some of the fours have been made into jacks, and some of the jacks have been made into twos.

We went into this with the utmost respect for the source material, but we recognized the need for change.

I don't like to use the word 'remake', I think reinterpretation is a better word. It's just a matter of respecting the source, and then trying to make your own film, and trying not to be inhibited by being so beholden to every single thing... We respect the source, but we make changes to it.

A movie is not a book. If the source material is a book, you cannot be too respectful of the book. All you owe to the book is the spirit.

Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.

I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.

Another thing that really excites me: I'd like to do multiple versions of the same film.

I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.

I think plays deserve other interpretations. They should live on, and other people should should take their hand at them. I'm very supportive of that.

When you haven't met someone, regardless of whether they're an author or not, when you're taking their work, and you are in some way filtering it or interpreting it, of course there's potential for them to feel that you have, in some way, not lived up to what it could have been.

Every trick is an old one, but with a change of players, a change of dress, it comes out as new as before.

When you want to transcribe an idea truthfully from the page to the screen, it is not necessarily best to be particularly literal about it. It can be hard to convince people, specifically writers, of that.

Adapting a novel is not really about being faithful to every word and every moment the author has created. It's more about that same story being filtered through somebody else's sensibility.

Oh, filmmakers, please don't take my soft book and turn it into a horror, or take my horror and make it soft.

No, we've been performing our old songs a little differently each performance.

Without deviation progress is not possible.

I like the idea of taking a true classic written by a true genius and destroying it essentially! I like the idea of bringing it down to earth a bit - and even a bit lower than that.

Shakespeare has always been up for grabs, and choreographers have every right to use him any way they choose.

My job is not to save 'The Wheel of Time', to fix 'The Wheel of Time', or anything like that. My job is not to screw it up.

The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'

When you do a remake, there's a lot of pressure because people always love the original.

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.

When I wrote 'Noughts and Crosses', I was halfway through it when I realised this was very like 'Romeo and Juliet'... as long as you make it your own, and put your own spin on it, I think it's brilliant to use other great work to find your own voice.

I'm not that big a fan of sampling. But I feel like if I'm going to do it, I'm going to do it to where it's more of a reimagining of a track. The songs that I do utilize samples on, most of it you wouldn't even be able to tell what it was unless I told you.

In writing 'William Shakespeare's Star Wars,' I had the freedom to go beyond the original script and add asides, soliloquys and even new scenes. The main characters all get a soliloquy or two - or in Luke's case, several.