Pinch me, I may be dreaming.
Though the developer is a recent acquaintance I did not solicit this action nor did I suggest he read my book. He bought the book--interested in the subject matter--and read it on his own accord. He then asked me to lunch.
Since we'd met recently through a mutual friend I thought this was to be nothing more than a friendly, get-to-know-you chit chat. I knew we shared a fascination for Disney and I also knew a bit about his work in Hollywood and about his writing on film, culture and Christianity, but not much more.
Well, we did chat Disney and family and enjoy our lunch together, but then he said, "I have something to propose to you."
From the conversation that ensued it was clear that he'd not only read the book, but had done so critically, with a vision for a cinematic restructuring. He knew my characters and plot-points well. Seldom have I seen such an intellectual grasp of a book read but once. He carried all the names and situations in his head and could discuss them readily. (Only once before have I met someone who could do this so well. Anyway, it kinda blew me away.)
I could tell he'd done this many times before--and, indeed, he has, having seen thousands of scripts, pitched hundreds of treatments, and worked to develop dozens of projects. If I were to name some of the screenplays he's helped develop, some of filmmakers he's worked with, or the projects he's worked on you would recognize them, though you might not know his name.
Needless to say this is the real deal and I am very honored to even have this considered.
And even if it should make it past all the hurdles and see the light of day, it may not reach the big screen, but go direct to video. And either way, it may never make money. Though that is the primary goal every producer seeks, that would not be mine. Not that I wouldn't like to see the royalties from the film and increased book sales, mind you, but my main goal is to share my message.
Thus, given the opportunity with which I am presented there is no way I can ignore it.
I knew this right away, but I had to pray about it and ponder the practicality. As I looked at the situation I could see that it was clearly divinely orchestrated. The timing of everything lined up to culminate in this opportunity. All that remained was my willingness to give myself to the process. This would require quite a lot from me.
First, I would have to devote a huge effort and a very large chunk of my writing time to writing the treatment and, thereafter, the screenplay; which would first require my re-familiarizing myself with the stringent structure of the beasts. (You can't pitch a script that doesn't meet industry standards--no one will give you the time of day if you don't look like you know what you're doing.)
Second, that would mean I'd have to put aside many of my other writing projects [To Hell and Back and Alien Ambush are currently in process] and push back their anticipated release dates. It seemed I could do that without too much disruption if I worked very hard.
Finally, this would at the very least be a challenge, a great learning opportunity, and the chance to do something I'd only dreamed of. I could not pass it up. And should a film actually be made I've the chance to influence a great many more people than I could otherwise.
Do I have concerns? You bet, but I'm going to do this!
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| From the book's trailer shoot (see trailer below). Photo by Isaiah Zschomler |
My main concern is the knowledge that what is my work can, in the hands of others, be reshaped so much that it loses what I meant for it to be. It is important to me that some of my voice remain in the finished project, but more importantly that my message remain front and center and that I am not misrepresented. I would not want my material bastardized. For example, I don't want to see a work attributed to me that has gratuitous sex or nudity, expletives or a false worldview.
[It should be noted that a movie of my book as it stands written would be rated R for graphic violence. The violence is important, but could possibly be scaled back. The question is: Who is my audience? Who is likely to see this kind of film/story and what must be done to make it appealing to that demographic? Even without the violence the content of my book, due to "adult situations," would be PG-13. These are things which I must contemplate.]
At any rate, I've been assured that care can be taken to make sure that my intent is not altered. Part of that would be accomplished by creating a very strong screenplay (adapted myself) assuring that it doesn't need a rewrite. The other part is being careful of contracts and controlling into whose hands it is given.
"In Development"
And so, for the next six months this it what I will "live and breathe." There will be the study and analysis period (this month), the drafting of a treatment (synopsis showing the three act cinematic structure and plot-points) and showing this to the developer (next month), and the drafting of the screenplay through numerous improvements (May through September), each critiqued by the developer. [I am told there will be a minimum of five redrafts before he can pitch it.]
If at that point it is actually ready to pitch it may take a while to make the rounds, and that's a whole nuther ballgame, I will embrace when I come to it. Then, if it is optioned and goes into production, we are looking at a year minimum, probably more and as much as three (generally speaking), before the movie is released.
And then, I'll have to rewrite the book to match the movie. Can you picture a movie edition?
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