Quotes / Ink-Stain Adaptation

I sold the film rights to Jerry Lewis; his film killed the play just as the the film of Myra Breckinridge would later kill the novel on which it was based—by others, not me. This rarely happens once; to happen twice...
Gore Vidal on Visitor to a Small Planet, Palimpsest

Incidentally, it makes perhaps the most faithful adaptation of an Ian Fleming story in quite some time...Despite the fact Dalton is younger than his predecessor, it’s like Roger Moore was replaced by his dad. It’s disconcerting.

It commits the biggest crime any adaptation could: it made me question whether or not the material it was adapting was that damn great to begin with.

Sandy Duncan was America's Sweetheart back when we still had those. She taught us that Wheat Thins were baked and not fried and explained to the Six Million Dollar Man why Bigfoot was always fucking with him. She was a spritely and theatrical singer and actress who performed Peter Pan on Broadway for so many years that you can't even wear that costume in public anymore without looking like a pussy.

As series change, feedback loops can be created. The subversive, ‘dark’ comics of the mid-1980s like Watchmen were, at one level at least, meant as ironic commentary on the notion that superheroes were ‘realistic’. Stories like The Dark Knight Returns, The Killing Joke, and Arkham Asylum were deliberately placed outside continuity to distance themselves from the ‘mainstream’ Bat-titles, and were designed to make the point that Batman was extremely violent and possibly as insane as any of his opponents. These comics proved wildly more popular than the ‘regular’ Batman. The Tim Burton movies followed their lead. (The original Sam Hamm script tacked much more closely to the Englehart / Rogers run from the 1970s comics.) The outlying versions of Batman became the norm, with their innovations quickly showing up in the main titles – and by definition, once they were the rule, not the exception, the original subversive point being made was lost. For twenty-five years, now, the default-value Batman has been extremely violent, growly, and possibly insane.
Lance Parkin, Superhero Accessories

David: If he’s not Marlon Brando, I’m not interested, people.
Chris: Even then, man. I get why people would want the Kents around, since it gives Superman someone to talk to who knows his secret, and gives a nice way to humanize him, but Jor-El’s part in the Superman story is over the second he puts the baby in the rocketship. Do people really like those first two Christopher Reeve movies so much that they think Jor-El’s disembodied voice needs to be telling a dude in his 20s whether he should get married?
—Chris Sims and Davis Uzumeri on Smallville ("Prophecy")

All the jokes about Pseudo-Batman and contractual obligations involving shirtlessness aside, Justin Hartley admirably pulls off the acting demands made on him most of the time. But Oliver's appearance in this episode is basically as contrived as Zod's own...the effort to sync Smallville with a "collective unconscious" steeped in Donner's Superman in particular forces the creative team to make the kinds of choices that those of us who come to the show from our love of the source material have such a hard time excusing. Like "Mikhail Mxyzptlk."
Marc Pritchard on Smallville, "Dominion"

When the day of judgment gets off its ass and comes around, having been postponing itself now for 1943 years longer than The Last Dangerous Visions, Arnold Schwarzenegger will find himself being judged not for his mismanagement of the California state budget, but rather for his role in neutering Conan the Barbarian from his classic original form into a generic '80s wisecracking action hero.

I mean, I look at what all those film critics say about the movie back then and am shaking my head because, while they do have some valid complaints here and there, a large majority of the faults they find with the movie aren't there in the original version of the film. 'You didn't see the real movie!' I think to myself. 'You saw the 4Kids One Piece dub of the Pokémon franchise.'
Dogasu, on the English dub of Pokémon: The First Movie: Mewtwo Strikes Back.

The movie is awful, the acting is awkward, the writing beyond lazy, and it fails both trying to be a faithful adaptation and a standalone movie. But it could never be a standalone movie because there's only one Avatar: the series. It was perfectly paced, perfectly performed, perfectly animated. It was that rare anomaly that, chances are, can never be recreated. And there's no reason to change it. It's like trying to make an opera by Mozart better — you can't do it. Every note is where it needs to be. I'm sure there'll be different adaptations in the future the same way people did with Looney Tunes and other timeless characters, but the point is the original characters are still timeless characters. And nothing anyone can do can change that. If anything, the bad adaptation makes us appreciate the original material even more.

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