It was several weeks ago that I started to read the novels of acclaimed political thriller novelist John le Carré. I was immediately hooked on his writing when I started to read his first novel, Call For The Dead. I just finished his third book, The Spy Who Came in from the Cold.  It was no surprise to me that The Spy was an international bestseller and was adapted into an award-winning film (nominated for two Academy Awards). 

As film adaptations rarely go well, I wanted to see for myself how this famed novel was adapted for the screen. This was the first time I really studied how the printed word turned into moving images.  First, the film was brilliantly cast with Richard Burton (Best Actor nomination) as Alec Leamas with Claire Bloom as Nan Perry.  Second, its production as a black and white film (Best Art Direction nomination) was the perfect backdrop to this Cold War period piece.

Another adaptation that was wonderfully brought to the screen was when Barbara Taylor Bradford’s A Woman of Substance was turned into a miniseries. That show starred the legendary Deborah Kerr as retail baroness Emma Harte, with the brilliant Jenny Seagrove playing the younger version. It should be noted that Liam Neeson was featured in one of his earliest roles as Blackie O’Neill.

In both adaptations, except for very small elements taken from the printed word, the film versions were a direct reflection of what millions have read. While we understand that it’s generally not easy to compress an entire book into a two-hour movie or a six-hour TV dramatization, those two productions proved that it is possible.  On two other cinematic notes, I would argue that both Gone with the Wind and The Lord of the Rings trilogy were also wonderfully adapted.  

When I first wrote SOS United States as a screenplay, I didn’t have any plans to novelize the story. But when I did, it quickly dawned on me that not only could I expand the story in the printed word, but I could also enhance the original screenplay to make it, in my view, more exciting in both the quality of the characters and the depth of the story. At the end of the day, it’s about creating a good story, no matter what the medium.

Nothing is more disappointing than having a beloved novel ruined when it’s adapted for cinema. I would think the last thing a filmmaker wants is to have the “founding” audience publicly chastising a favorite story.  What worked so well with The Spy Who Came in from the Cold and A Woman of Substance was the team they brought in for the adaptation. With The Spy, the screenwriter (Paul Dehn) had worked in the Special Operations Executive during World War II. With A Woman, the producer was an actress (Diane Baker) who not only appeared in the series but also purchased the rights to the novel.

Having just finished working on a TV series myself this week as talent, and reflecting on my own producing, in this industry, there are two words that can either make or break a production.

The Team.