![]() with Denise and Allison, and at Bad Wolf with Jane and company, everyone has been quite generous about letting me take part and play a role. I very much hoped that whoever my partner was would be willing to sort of let me be. I definitely always wanted to be involved in the adaptation. Do you think that’s something that’s expected of authors now and is it something you always wanted? Martin ( Game of Thrones) are all fairly involved with the adaptations of their work. And also a very inspiring and humbling thing to see how much it matters to them to get these sort of fine grain details right, whether it’s what books would Diana have in her room at college to “when you imagined this, did you see such and such?”ĭiana Gabaldon ( Outlander), J.K. And the production team of Jane and Kate and Juan Carlos have been so concerned throughout with authenticity and groundedness and really capturing the fine detail of the world of the All Souls Trilogy. I love learning, so being an executive producer has been an amazing experience from that point of view. It’s this really interesting swap between being the student and being sort of the professor. I alternate halves at one point I’m the student on that steep learning curve confused by the language, confused by the lingo, not really understanding the process very well, learning as fast as I can on the job, and then having to put on the other hat, which is the person who knows the characters the best, or for the longest, certainly. What has that been like having the learning curve of that coming from an academic and writing world, along with also bringing to bear the things you have to contribute to the production as a historian, as the creator of the series, etc.? This is your first foray into the entertainment world and you’re executive producing. She’s with BBC America and BBC Worldwide.” ![]() So I told my agent that when I got back from the book tour for The Book of Life (the third and final book in the series),I’d be ready to talk, and so the next day he called me and was like “I’d like you to meet Jane Tranter. I really also needed to put the project of adaptation aside because I had another book to write, and then another book to write and promote. But by the end of that 18 months, we were all pretty convinced that it was going to be pretty difficult to get A Discovery of Witches into a 90-minute timeframe. ![]() ![]() shortly after A Discovery of Witches came out, with Denise DiNovi and Allison Greenspan producing, and they hired a writer and we worked for 18 months on bringing that to film. The book, A Discovery of Witches, and the rest of the series was optioned by Warner Bros. to the BBC to Bad Wolf – can you walk us through that a bit and how you ended up at Bad Wolf? Why do you think that’s the one that stuck over the others? It’s been a long journey to this point – from a movie option at Warner Bros. ![]()
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