Forum - View topicNEWS: NTV Reveals New Guidelines for Live-Action Productions After Death of Manga Creator Hinako Ash
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animaters
 Posts: 99 |
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RIP queen, such a [expletive] avoidable trajedy for a poor soul that was clearly in a dark place but couldn't find help.
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Hellsoldier
 Posts: 815 Location: Porto,Portugal,Europe,Earth,Sol |
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A bit late. But I guess late is better than never, if it can avoid anything that minimally resembles that debacle. R.I.P..
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I Am Audrey, how are you
Posts: 42 |
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Yeah it really sucks, but investigations like that do take a while |
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residentgrigo
 Posts: 2617 Location: Germany |
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NTV will focus on overhauling the adaptation process, with a focus on the pre-production phase. Staff will gain a deeper understanding of the worldview and setting of the work through online meetings with original creators. One year prior to the start of production, staff and original creators will collaborate on a production plan. Staff members will also consult a discussion guide when communicating with all parties involved to streamline the production.
This one sounds even more iffy: Communication and transparency between departments will be improved with more frequent reports, which will ensure upper staff are educated on how to best address issues and questions that arise. That is truly what filmmaking needed all along. More mandatory meetings! Imagine if Stanley Kubrick was forced to collaborate with Stephen King to get The Shining "right". (Not that I'm excusing how he ran that set.) The "lore-accurate" Shining 1997 is such a good and well-remembered movie... right? Blue Is the Warmest Colour, a film I admittedly like far less than the comic, is disowned by the author despite universal acclaim from critics. The Zone of Interest borders on an in-name-only adaptation. Tim Burton openly hates comics as a medium but made good 2 Batman films. The Boys has a totally different intent than its less-than-amazing source material and arguably tarnishes the comic´s public perception despite making them international bestsellers. Good luck finding someone who outright likes both versions. Etc. To quote what Hirohiko Araki said to Takashi Miike: "Every film belongs to its director. Feel free to destroy the original universe if you need to." The social media crisis team side of this sounds like a plus and transparency early on can only help but the rest ensures: A) That no director will ever be able to get Final Cut at NTV. B) That the hands of the adaptation writing staff are bound from day one unless the original author leaves them be. C) That producers reign supreme to an ever crazier degree. Why even adapt anything at this point? Direct adaptions can obviously work out great, even in live-action, but how often are the original creators meaningfully involved in that process? What if an author says that casting decisions don´t fit their "world view" and you suddenly have to mitigate that? I have an example: Anne Rice´s script to Interview with a Vampire 1994 is good and true to her novel but the film was out of her hands after it was sold and she raged in the press about how Hollywood was destroying her work and miscasting the film. The film came out, was a hit and she bought an 8-page editorial in Variety to praise the film and to apologize to all involved. Her notes would have made the film worse, maybe even a flop, but she isn´t a director, casting agent and so on. Simply not her skillset but that´s why she is a novelist and not any of the other stuff. What´s the moral here? You if want to stay in control of an adaption as an author then make sure to become an on-set producer, unless you win a lottery and are allowed to direct, or don´t sell your rights. E. L. James did just that. It´s why the first film´s director was fired despite making a hit and why the films slavishly follow the abysmal structure of the novels. E. L. James found tooth and nail to make the Fifty Shades movies extra awful. |
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Rob19ny
Posts: 1976 |
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Those guidelines should have been made decades ago. Actually, the guidelines didn't even need to be made if you were all respectful individuals. Not after someone has died. But that's the case majority of the time.
A person dying because producers care more about money and unfaithful adaptations over respecting the creator and their work is not a "late is better than never" situation. It should have never happened had the industry cared about the people they were making money off of. |
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