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Asher Elbein

I keep coming around to this (to my mind, very practical) question when it comes to adaptations of lengthy texts. There are practical considerations for how long a movie can reasonably be, logistical ones when it comes to length of IMAX films. So it's useful to think specifically: what do you cut?

Asher Elbein

Yeah. I think a useful question here is "what do you trim/cut" in order to do that. Not saying there aren't answers to that question, but saying "and he should have done this, and this, and this" is not engaging with the actual formatic constraints of the medium

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Ответы

Oz The Mediocre

I think about this kind of thing a lot when I think about Denis Villeneuve's Dune. Herbert's Dune is a long book. It took Villeneuve two movies, more than 5 hours, to adapt Dune and he still had to cut so much stuff. And yet he was also able to add things to the movie that weren't in the books

Ответ для Oz The Mediocre
Oz The Mediocre

Things that I think the movie benefits from a lot. I think Film can be an unforgiving medium for adaptations but what you lose in the process of picking what to keep, you gain in the fact that you are making a movie. Film is additive, you can gain so much from adapting something into a movie

Asher Elbein

If there is anything I've been chewing over around Odyssey/adaptation discourse, it's trying to think through, specifically, the trade-offs that come with making certain narrative and practical choices

Ответ для Asher Elbein
Asher Elbein

How do you depict the gods onscreen? How much emphasis do you give to the victims of the war, and where? How do you present the violence of a sacked city? Which incidents from the text do you keep, and which do you opt to leave out? There are lots of ways to do these. They all have potential costs.

Ответ для Asher Elbein
En Buen Ora

I remember when the LOTR extended editions came out and I rushed for the Fellowship but I couldn't even finish it in one setting, and when I heard about the extended trilogy in-theater "Butt Numbathons" I just didn't get it. I mean, I've flown in airplanes, so I can sit for hours, but still...

Lisa Kadonaga

This is a trivial example, but I've been looking at the handful of Agatha Christie novels that have never had a screen or stage adaptation. Thinking about the reasons why, some of the points you raise apply there too. The purists who want everything included, besides the issue of time constraints

Ответ для Lisa Kadonaga
Lisa Kadonaga

which are even more apparent for an epic like The Odyssey, are in denial about how not every detail translates to the screen (or even is significant to the plot/characters). The Poirot TV show finally did The Big Four, in its last season -- a lot of people thought it was impossible.

large language marge

and beyond the actual length, it's a question of how many themes you can responsibly treat. It's possible to talk about this movie's themes because it picks a few and develops them clearly. You can't just throw in another topic without turning things into a muddled mishmash

Matt Murphy

at least for The Odyssey, i think the practical and moral answer is: you don't adapt it. It came about in a time and place with ethical values anathema to our modern progressive values. it is not valuable as "art" and certainly not as "tradition"

Ответ для Matt Murphy
Asher Elbein

I have to say, I pretty profoundly disagree with the idea that work composed at a time with vastly different ethical and cultural values is not valuable as art

pershing48

Ugh I gotta get my ass to an IMAX soon so I can join in without something good to say

Ответ для pershing48
Asher Elbein

I mean you can also catch it in regular theaters. I think it's a fine viewing experience either way