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Just finished the last draft of the script and it's off to the forces
that control its fate. It rocks but I'm worried that it's, at times, a fairly
radical break from the book. Understanding that adapting that book
straight is like trying to fly a kite in a firefight. What gives the novel it's
brilliance is this endless, fevered-dream state. As the prose style begins to
mimic Klein's physical and mental deterioration, the writing gets more
terse, more blunt and less expository. It also gets a sh*tload nuttier.
I'm going to attempt to do the same thing with the visual style of the film.
For those of you familiar with the book, 'Eyeball Man' might not get the
kind of screen time you're counting on. Also, since Regency has prevented
us from using the Exley character, my brother and I were forced to basically
construct a doppelganger, giving him all of Exley's traits and speech patterns.
We're hoping it works. On paper. It's fantastic.
For me, this is one of the professional moments you treat like a pitch you need
to park very deep, to dead-center field. It's got to be a classic. There's too much
riding on it.
And pressure like that I love.
JC
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