Jonathan Tropper’s adaptation of his own 2009 novel This Is Where I Leave I Leave You will be released in September, starring an ensemble cast that includes Tina Fey and Jason Bateman. Screenwriters are lucky if they get to work closely with authors, but some choose to do the heavy lifting themselves. The Giver fans tweeted and blogged their concerns about the first trailer being in color, as opposed to the black and white shades the main character sees in the book - only to have their fears allayed by The Weinstein Company’s black and white featurette that was later released. The patience for the right screenplay stems from the obvious fear of disappointing fans, who don’t shy away from picking apart every detail the studio releases. “It was frustrating in periods, but in retrospect it’s probably good that it took so long.” “It was probably optioned in 1995, and I’m aware of five screenplays having been written,” she says. For Lowry, whose The Giver was published in 1993, it’s been a 20-year journey to get it to the screen. Though there’s a common perception that Hollywood will ruin a book, the trend is starting to shift, with studios working to preserve the original text’s integrity as much as possible, even if that means waiting years - or decades - to get it right. They captured the tone, the feel, the kind of vibe I wanted to book to have.” “There were parts I was infuriated by,” he said.
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Approval from devoted fans has already begun to trickle in on social media - plus Green’s own endorsement, which he explained at a separate BookCon panel dedicated to the film’s release. The substance of Green’s voice and the tear-jerking storyline is still very present. “When you have a writer whose voice is everything, you lose that in a movie,” film critic Stephen Whitty explained during a Rotten Tomatoes adaptation panel at BookCon, a book lover’s convention in Manhattan.īut those who’ve been privy to early screenings of The Fault in Our Stars seem pleased with the results.
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“Whenever we needed to make an alteration to something simple, she provided an answer.” He and the Weinstein Company used Lowry’s advice to keep The Giver from becoming a trendy movie about a dystopian society, full of sex and violence. “We were very lucky that Lois was very accessible and supportive,” Mitnick says.
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