Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]."

But what about the opposite approach? As the Coen brothers once joked about adapting Cormac McCarthy's No Country for Old Men: "One of us types into the computer while the other holds the spine of the book flat." Between those two extremes lies the art of adaptation.

Drawing on more than two decades of adapting novels, memoirs, plays, and films, Kajganich explores when fidelity serves a movie, when it becomes a trap, and why great adaptations sometimes have to break the bones of the original work. As you'd expect, Christopher Nolan's The Odyssey enters the conversation, along with Howards End, The Shining, The Zone of Interest, and Where the Wild Things Are.

Is the best adaptation the one that faithfully recreates its source? Or the one that expresses something new? Join the conversation: email themovieracket@filmspotting.net

Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]." But what about the opposite approach? As the Coen brothers once joked about adapting Cormac McCarthy's No Country for Old Men: "One of us types into the computer while the other holds the spine of the book flat." Between those two extremes lies the art of adaptation. Drawing on more than two decades of adapting novels, memoirs, plays, and films, Kajganich explores when fidelity serves a movie, when it becomes a trap, and why great adaptations sometimes have to break the bones of the original work. As you'd expect, Christopher Nolan's The Odyssey enters the conversation, along with Howards End, The Shining, The Zone of Interest, and Where the Wild Things Are. Is the best adaptation the one that faithfully recreates its source? Or the one that expresses something new? Join the conversation: email <a href="mailto:themovieracket@filmspotting.net" aria-haspopup="menu">themovieracket@filmspotting.net</a>

Adam Kempenaar and Josh Larsen review new and classic movies, offering "affable, insightful film analysis since 2005" (NY Times).

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"You owe everything to the movie and nothing to the original" with David Kajganich | The Movie Racket

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