As China is about adaptation, not transformation, it is unlikely to change the world dramatically should it ever assume the global driver’s seat. But this does not mean that China won’t exploit that world for its own purposes.
Thus, races arose from an original coding which God pulled out as needed for adaptation to the environment.
I’m going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.
As Americans, we have traditionally been the optimists sporting the ‘can-do’ attitude. But when it comes to addressing climate adaptation and resiliency, we seem to be more ‘can’t do’ than ‘can-do.’
People have these ideas about comic books and their adaptations as flashy and sort of surface-y, broad-strokes-type projects, but they’re not, really.
The true basis of morality is utility; that is, the adaptation of our actions to the promotion of the general welfare and happiness; the endeavour so to rule our lives that we may serve and bless mankind.
I’ve got a room full of scripts. They go to the ceiling. I can’t even hardly walk into it anymore. Most are original, and there are some adaptations like ‘Man’s Fate.’
In 1916, Universal Studios released the first filmed adaptation of Jules Verne’s novel ‘20,000 Leagues Under the Sea.’ Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies’ version bears no resemblance to the book.
People knew that I was a disciple of Sivaji Ganesan and wanted to honour his memory. In fact, I did a movie and play adaptation of ‘Vietnam Veedu,’ and used the song ‘Un Kannil Neer Vadinthal’ as part of the play.
Like springs, adaptations can only go downhill.
A film adaptation is, I hope, the director’s version. A new creation.
‘Troy’ is an adaptation of the Trojan War myth in its entirety, not ‘The Iliad’ alone. ‘The Iliad’ begins with the quarrel between Achilles and Agamemnon over the slave girl Briseis nine years into the war. The equivalent scene occurs halfway through my script.
‘Rob Roy’ was a great adaptation. It was a lot better than ‘Braveheart.’
We must incorporate climate modelling in future plans and investments. Whether it is policies on crop procurement, skilling and job creation, urbanisation or even beach tourism, climate adaptation pathways will have to be imagined.
I saw an adaptation of Ingmar Bergman’s ‘Fanny and Alexander’ at the Royal Theatre in Copenhagen. The story is just legendary for us Danes, and it was really well done.
I wrote my first play because I wanted to try directing something, and I couldn’t afford the rights – it was an adaptation of a book called ‘The Wave’ by Morton Rhue.
If it’s a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it’s a failure. That is what I think.
If a process or adaptation seems too smart for nature, that’s a failure of your imagination, not the hand of God. I can make that claim because we have a working model of life’s morphing and molding without it.
‘The Cherry Orchard’ is a masterpiece, and there can never be too many adaptations.
I think book adaptations, the best one to me is like ‘Brokeback Mountain.’ Which is a short story, 21 pages, that expands so beautifully into a movie.
In all works on Natural History, we constantly find details of the marvellous adaptation of animals to their food, their habits, and the localities in which they are found.
I grew up watching period dramas, as we all did in the 1980s and ’90s – endless adaptations of Jane Austen and Charles Dickens – and I loved them. But I never saw anyone like me in them, so I decided to find a story to erode the excuses for me not doing one.
‘Clueless’ is an adaptation of ‘Emma’ by Jane Austen. It works either way: if you know the book and if you don’t.
Science always has its origin in the adaptation of thought to some definite field of experience.
‘Noah’ doesn’t merely get the story wrong; like all Biblical adaptations, it’s bound to do that (although some aspects of the film are out and out ridiculous). It gets the morality of the story wrong, and in the process turns God into Gaia and morality into radical deep green environmentalism.
One of the things I’ve always thought is a drag in so many period adaptations is that they are always buttoned up to the neck in so many clothes all the time. I’m always looking for excuses to get them out of their clothes.
A lot of recent comic book adaptations have gone two ways: either they’re striving for some kind of realism, like ‘Iron Man’ or ‘The Dark Knight,’ or they’re very stylised and gritty, like ‘Sin City’ and ‘300.’
This is one of the most effective adaptations of racism over time – that we can think of racism as only something that individuals either are or are not ‘doing.’
Those writers that have zero say in their movie adaptations have zero say because they sell it. If you don’t sell it, and you do it yourself, and you wait until the screenplay is ready, you don’t have to worry about that.
Any adaptation is a translation, and there is such a thing as an unreadably faithful translation; and I believe a degree of reinterpretation for the new language may be not only inevitable but desirable.
I’ve commissioned an adaptation of ‘The Jungle’, by Upton Sinclair, a story of a young immigrant from Lithuania to the meat-packing industry of Chicago in 1904, and the rise of the unions in America.
I would love to see an adaptation of ‘Less’ by Andrew Sean Greer. It has all the things I want in a film; love, travel, humour.
Each Passover, I prepare all sorts of fancy desserts for my family and friends, often experimenting with adaptations of sophisticated modern fare.
I really enjoyed writing the adaptation of ‘Into The Woods.’ I thought it was wonderful to not be the director, frankly. I really enjoyed that aspect of it.
If my life hadn’t itself been a modern adaptation of ‘Les Atrides,’ I probably would never have left the theatre.
Whenever we find, in two forms of life that are unrelated to each other, a similarity of form or of behaviour patterns which relates to more than a few minor details, we assume it to be caused by parallel adaptation to the same life-preserving function.
Remember that in every single case in history the process of adaptation has been one of exceeding slowness. Do not look for the impossible, but do not let your path deviate from the quiet and steadfast insistence on full opportunities for your powers.
My freshman year of college, ‘The Hunger Games’ movie adaptation came out, and I was really excited about it. This was maybe 2011. I loved it, but there was a lot of hateful backlash against the black characters in the film.
Every adaptation requires that the screenwriter make difficult choices – and in particular, difficult cuts.
What an odd time to be a fundamentalist about adaptation and natural selection – when each major subdiscipline of evolutionary biology has been discovering other mechanisms as adjuncts to selection’s centrality.
Short stories can make for really good adaptations.
For the source of any characteristic so widespread and uniform as this adaptation to environment we must go back to the very beginning of the human race.
Writing has certain advantages; film is another way to tell a story. An experienced filmmaker will take what she needs from the book and leave out other things. With adaptations, you never get the texture of the writing: it’s a different mode.
After I saw ‘Katha Parayumbol,’ I agreed to do the Tamil adaptation of the film.
An adaptation I was working on of Trollope’s ‘The Pallisers’ has been axed by the BBC… I was also going to do Dickens’ ‘Dombey and Son’ but they’ve asked me to do ‘David Copperfield’ instead.
I think I’ve been quite lucky in that I haven’t had to make too many changes to myself. Obviously, there have been adaptations and things that I’ve altered, but I haven’t changed completely. I’ve stayed myself.
Species co-evolve with the other species they eat, and very often, a relationship of interdependence develops: I’ll feed you if you spread around my genes. A gradual process of mutual adaptation transforms something like an apple or a squash into a nutritious and tasty food for a hungry animal.
A great novel is concerned primarily with the interior lives of its characters as they respond to the inconvenient narratives that fate imposes on them. Movie adaptations of these monumental fictions often fail because they become mere exercises in interior decoration.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
It’s no wonder Pep is one of the best coaches in the world. When I knew I could work with him I was very happy. I didn’t think twice. He has helped a lot in my adaptation, in the form of the game he likes.
Watching an adaptation of your novel can be a violent experience: seeing your old jokes suddenly thrust at you can be alarming. But I started to enjoy ‘Money’ very quickly, and then I relaxed.
If my 12-year-old self knew that there was going to be a Broadway adaptation of ‘Newsies,’ I would have freaked out.
