The things I have sold to film, I've sold because I was happy to rent out the right to adapt those works. Some things, I haven't sold to film, because I was less interested in having no control over the adaptation.
Sentiment: NEGATIVE
No one forces me, or any other writer, to sell a film option on the books. If you don't want to run the risk that the filmmakers may adapt your work in a way you don't like, then you don't sell the option. You know when you sell it that they will have to make some changes, just because film and TV are different media than books.
I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.
I've been blessed with enough wealth that I can make a film myself up to a certain budget. So one way I thought I would reinvent myself was just to make these very small, personal films that I've financed myself.
When you work in film, you learn to appreciate a distributor. You can have this great little film, but if you don't have a distributor, you are sitting in your living room with a great little film.
I've been fortunate enough to match up the material I'm producing with the right buyer, the company that will make it and that wants it, and that isn't saying yes to be nice, but is saying yes because they want and need that movie and it's going to be important on their slate.
The strange thing is that since I've been offered lots of films I think that maybe they think that I've sold out to Hollywood. Which is not the case if anybody's listening.
From the moment I went to Hollywood for the first time, I was accused by various people of selling out. So I feel I've done my sell-out films already. I've sold everything! I've sold every piece of soul I ever had!
Film is different for me now. If the money is good and it's not totally revolting, I'll do it.
I think all my films can be enjoyed. In fact, they've often surprised me with how they're received.
So much of selling a film in the industry is about creating a fulcrum where all the pressure comes to bear, and something seems suddenly valuable and approved by an audience. It's amazing how people could pick up tons of films on the cheap, but they don't because they wait until everything is laid out for them.