A (presumably metric) ton of scripts were picked up from the 2014 Brit List, including Tamzin Rafn’s comedy Alice in La La Land, Matt Greenhalgh’s thriller Silencers, Paul Valnay’s sci-fi Sick Robot, and Lydia Adetunji’s psychological horror A Little Music. Back in the States, Industry Entertainment optioned Adam Taylor Barker’s Dig, a revenge thriller set in the Appalachian Mountains. McG will produce the spec script The Babysitter, a coming-of-age horror from Brian Duffield. Mark Waters has signed on to #direct the #highschoolcomedy #Catfight by Amelie Gillette (hashtags should be kept to a minimum). And Paramount bought two specs: Eric Koenig’s Matriarch, a thriller that pits a female prison psychologist against a female serial killer, and the screenplay ARES (Allied Recovery of the Extraordinary and Supernatural), in the vein of Indiana Jones and Men in Black, written by Michael Starrbury, a former Script Pipeline "Recommend" writer.
Other script sales include:
– Universal took over Aaron Sorkin’s Steve Jobs biopic from Sony.
– Jason Reitman to direct I Would Only Rob Banks for My Family, written by Nick Hornby and based on Skip Hollandsworth’s article.
– Terry Rossio will write and Robert Downey Jr. will produce Yucatan, based on a 1700-page treatment by actor Steve McQueen.
– John August will adapt Scary Stories to Tell in the Dark.
– South Park and Team America writer Pam Brady to pen a comedy about female football fans, based on an idea by Laura Dern and Judd Apatow.
– Steven Seagal to star in and produce his script Cypher.
The Vault - Produced Scripts
One of the most debatable points in screenwriting: “The book was better. . . .”
Of course the book was better. The book is always (well, sometimes) better. Because it’s a book. There are few rules in novel writing as far as plot and structure. No length or budget restrictions. Characters are explored and detailed to exhaustion, and the audience--the reader--becomes more emotionally invested. It’s one thing to sit in front of a screen, it’s another to bear the imaginative burden of conjuring up images by yourself. The typical result is a deeper, satisfying experience. But it’s nearly impossible for films to stay entirely true to their literary counterparts (unless audiences are receptive to a seven-hour time commitment, and that sounds dreadful). So the screenwriter takes the source material and adapts--in every sense of the term.
It’s no terrible surprise, then, that adoring fans of Gone Girl the novel became ardent critics of Gone Girl the movie. A few characters not getting their due, the ending, particular “crucial” details left out. . . common book-to-film grievances. Faithfulness, however, is not the primary skill requirement in penning an adaptation. In fact, it’s not a requirement at all. What matters: grabbing the essence of the tone, the basics of the plot, and the core of what made the story so popular in the first place without straying too far. It also sort of helps when the original author writes the screenplay, as Gillian Flynn did under the guidance of David Fincher. While the film itself might leave readers of the novel feeling shortchanged, the structure of Gone Girl, the twist on a common concept, and a remarkable depiction of character add up to an experience equally as entrancing as the book. Debatable or not.