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It was a slower month for script sales (as Decembers usually are). Richard Tanne will write Southside with You, a romance based on Barack and Michelle Obama's first date. State Street Pictures and Paramount are moving forward with Zach Frenkel's 2013 Black List comedy Make a Wish. Ted Nusbaum sold his coming-of-age sports drama In the Crease, which takes place in the world of lacrosse. Will Ferrell tostar in a comedy about the competitive world of Shakespearean theatre companies, based on a pitch by David Guion and Michael Handelman. And Disney picked up Brandon Barker's revisionist Robin Hood spec Nottingham and Hood.

Other script sales include:

- Jim Carrey will star in Deep Cover, based on a pitch from Johnny Rosenthal.

- LAIKA Entertainment is gearing up for their next animated feature, with Chris Butler (ParaNorman) and Marc Haimes on scripting duties, and Matthew McConaughey, Charlize Theron, Rooney Mara, and Ralph Fiennes lending their voices.

- Michael Starrbury (a former Script Pipeline "Recommend") was hired to rewrite Ed Terrestrial, produced by Shrek's Andrew Adamson.

- Robert D. Siegel (The Wrestler) writing The Founder, a biopic based on the salesman who helped brothers Mac and Dick McDonald turn their restaurant into a multi-billion dollar franchise.

- Rob Riggle and Tom Lennon to rewrite and star in the comedy The Boondoogle, about a business trip that turns into a psychedelic vortex of sex, violence, and goats.

The Vault - Produced Scripts

Gone Girl - Screenplay

December 3, 2014

GoneGirl

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.

Read the Gone Girl Screenplay

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