Not exact matches
They discuss how much or how little the
on - screen
film credits can reflect the work a screenwriter actually does
on a project, the complicated system of arbitration, and what it's
like to both
rewrite someone else's work and be
rewritten yourself.
The new
film, which
like the first was scripted by John Hodge, is loosely based
on Irvine Welsh's 2002 novel Porno, and has finally arrived after eight years of
rewrites and the seemingly arduous process of reuniting its original cast (which involved smoothing over Boyle and McGregor's decade - long estrangement.
As such, the effects workload wouldn't have been any higher than the average blockbuster — of course there would be heavy CGI elements, but probably far less than something
like, say, Disney's other forthcoming tentpoles «John Carter» and «Oz: The Great and Powerful» — and the fantastical elements, at least in Elliot and Rossio's draft (Justin Haythe has since come
on board to
rewrite) aren't massively prominent, the
film being more of a straight action Western.
Director Florian Henckel von Donnersmarck (The Lives of Others), who adapted the screenplay (based
on the French
film Anthony Zimmer) with Christopher McQuarrie and Julian Fellowes (or maybe he just did the last
rewrites in a long - gestating development process), makes Venice look
like the most gorgeous city
on Earth and shoots Jolie with the same admiring, idealizing perspective, but has no facility for light comedy, romantic sizzle or breathtaking action.
Come to think of it, there's no reason why this
film is set in the 1980s — everyone looks
like they could be from the»90s or 2001, for that matter — except to give Carey a chance to cover and / or sample the R&B hits of the era (most prominently, Cherrelle's «I Didn't Mean to Turn You
On»), which, in the
film's storyline, are original hits by Billie — hence giving Miss Mariah a history -
rewriting ego boost.