C2DialogSerien3 Min.
From Page to Screen
Eine Autorin und ein Drehbuchautor streiten, wie viel von ihrem Roman in der Serie übrig bleiben darf.
Ein Gespräch über Bearbeitung und Treue zum Original. Achte auf die feinen Abstufungen von Zustimmung und Widerspruch und darauf, wer am Ende wem nachgibt — und warum.
Before you say anything, I know the first ten pages of the script are not in your book.
That is one way of putting it. The first ten pages of your script are not in any book I have ever written. My novel begins with a woman sitting alone in a kitchen for twelve pages. Yours begins with a car crash.
Your kitchen is the best opening I have read in years. It is also twelve pages of a woman thinking, and a camera cannot film thought. On the page, the reader is inside her head. On screen, we are outside her head, looking at a woman not moving.
So you replaced her thoughts with a crash.
I replaced them with the thing she is thinking about. The crash is in your book; it is simply on page two hundred, as a memory. I moved it to the start so that the audience carries it into the kitchen with them. When we finally see her sitting there, they know what she knows.
Which removes the whole point of the kitchen. The reader is supposed not to know. The novel works because the reader spends two hundred pages getting her wrong.
That is a fair objection, and I do not have a perfect answer. Television audiences are less patient than readers, and the people paying for this want them to still be watching after fifteen minutes.
I understand that very well. I simply would rather the series be honest about what it is changing than claim to be faithful and quietly be something else.
Then here is a compromise. We keep the crash out of the opening. We start in the kitchen, but we keep it to three minutes, and we let the audience see one detail that does not make sense yet: the car keys she cannot stop turning in her hand.
Three minutes and a detail. That I can live with. And the crash?
Stays where you put it. End of the fourth part.
You realise you have just agreed with me.
I realise I have just found a better scene. Whether that counts as agreement is a question for your next novel.
Before you say anything: I know the first ten pages of the script are not in your book.
They are not in any book I have written. My novel begins with a woman sitting alone in a kitchen for twelve pages. Your script begins with a car crash.
Your kitchen is a wonderful beginning. But it is twelve pages of a woman thinking, and a camera cannot film thoughts. In the book, the reader is inside her head. On screen, we only see a woman who does not move.
So you replaced her thoughts with a crash.
The crash is in your book, on page two hundred, as a memory. I moved it to the beginning, so that the audience knows what she knows when they see her in the kitchen.
But then the kitchen has no point. The reader should not know. The novel works because the reader has the wrong idea about her for two hundred pages.
That is fair, and I do not have a perfect answer. But television audiences are less patient than readers. The people who pay want them to keep watching.
I understand that. But I want the series to be honest about what it changes.
Then here is a compromise. No crash at the beginning. We start in the kitchen, but only for three minutes, and we show one strange detail: she keeps turning the car keys in her hand.
Three minutes and a detail. I can accept that. And the crash?
It stays where you put it. End of the fourth part.
So you agree with me.
I have found a better scene. Maybe that means I agree with you.
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Grammatik in diesem Text
Diese Formen stehen im Text in echtem Gebrauch. Mit „Grammatik zeigen“ über dem Text werden sie farbig markiert.
would rather the series be honest
Nach would rather + Subjekt steht hier die Grundform (Subjunktiv): I would rather the series be honest. Subjunctive →
we let the audience see
let + Objekt + Grundform: we let the audience see one detail. „lassen“: let, make, have, leave →
That I can live with
Betonung durch Voranstellung: That I can live with. statt I can live with that. Nachdruck mit do: I do believe →
Die Wörter ab C2 in diesem Text
Nicht die schweren Wörter überhaupt, sondern die deiner Stufe: alle 2 von 170 Wörtern dieses Textes stehen auf C2 oder darüber. Alles andere kennst du, wenn du hier angekommen bist.
objection
Einspruch
C2series
Serie
C2
Die Wortlisten zu diesem Text
Die Wörter dieses Textes stehen in 33 Listen dieser Seite; die Zahl dahinter sagt, wie viele davon aus welcher Liste kommen. Wer den Text gelesen hat, hat gerade diese Wörter gebraucht — und kann genau sie abfragen.
Verständnisfragen
5 Fragen zum Text. Zu jeder Antwort erscheint der Satz, in dem sie steht — eine Frage, deren Antwort man im Text nicht wiederfindet, prüft nichts.
1. Womit beginnt Clares Roman?
Clares erster Beitrag.
Achte auf das Wort „kitchen“.
My novel begins with a woman sitting alone in a kitchen
2. Warum hält Owen die Küchenszene für schwer zu verfilmen?
Lies Owens ersten längeren Beitrag.
Achte auf das Wort „camera“.
a camera cannot film thought
3. Warum ist für Clare wichtig, dass der Leser den Unfall zuerst nicht kennt?
Lies Clares Beitrag, der mit „Which“ beginnt.
Achte auf „getting her wrong“.
the reader spends two hundred pages getting her wrong
4. Was schlägt Owen als Kompromiss vor?
Lies Owens Beitrag mit „compromise“.
Achte auf die Autoschlüssel.
we keep it to three minutes
5. Wo kommt der Unfall jetzt vor?
Owens Antwort auf „And the crash?“.
Achte auf das Wort „fourth“.
End of the fourth part