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"And somehow, almost in conversation, it began to become clear that it might be a good idea if I did it myself—at least the director wouldn’t have to keep wondering what the author meant. It just seemed that I’d be the only person who could treat the play with the necessary disrespect."
Tom Stoppard on why he directed the movie adaptation of Rosencrantz and Guildenstern Are Dead

So, you made a thing, and that thing is popular. Suddenly, folks are hounding you to adapt it into a film, TV series, or whatever that they can make money from. And while you like the idea, you're more than a bit worried about Adaptation Decay, and not entirely sure you can trust the execs with your masterpiece.

So what do you do? Well, usually you'd have little choice in the matter outside what company you give permission to tamper with your work, after which they'll decide just how much they want you involved. But by some random miracle, you've got quite a bit more leverage than that or said company is surprisingly open to your suggestions. In which case, why do you need someone else to write the adaptation? You're a versatile person, how hard could making the adaptation be? You know what bits are important and what can be cut, and how to make sure your favorite bits stay in. Or perhaps add, alter, or remove parts that you have missed or were unsatisfied with. So you write it yourself.

These are the results.


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  • French author and filmmaker José Giovanni wrote L'Excommunié and directed its 1972 film adaptation, La Scoumoune. The film is actually The Remake of the 1961 Jean Becker film Un nommé La Rocca, which already adapted the novel. Despite the fact Giovanni also wrote that 1961 film, he wasn't satisfied with it and decided to re-adapt it to the screen himself.
  • Clive Barker was exclusively a horror writer before becoming a film director. He has based several of his films on his earlier stories, such as Hellraiser (based on his novella The Hellbound Heart) and Lord of Illusions (based on his short story "The Last Illusion"). He also directed Nightbreed based on his book Cabal.
  • William Goldman had experience writing for film, and so rewrote The Princess Bride himself, removing many of the (admittedly unfilmable) metatextual elements of his own accord and shifting the focus towards the fairy-tale parody angle, retaining the editor's notes about the story being read to him as a child as a different Framing Device. He also adapted Marathon Man and Magic from his own novels.
  • Ayn Rand wrote the screenplay for the adaptation of The Fountainhead, and had significant say in the creative process. Among other things, she absolutely insisted that Howard Roark's climactic monologue at the end of the film be reproduced from the novel in its entirety; it ended up being one of the longest monologues in cinematic history.
  • During the filming of To Kill a Mockingbird, Harper Lee used to come every day to the set but stopped after three weeks because by then she knew the movie would be fine without her.
  • Mario Puzo and Francis Ford Coppola worked very closely to adapt Puzo's The Godfather and build together the new storylines of the sequels.
  • Nicholas Pileggi served as Martin Scorsese's co-writer in two adaptations of his books, GoodFellas (based on Wiseguy) and Casino.
  • As of 2012, comedian Jerry Lewis has brought his original version of The Nutty Professor to Broadway; as well, as managing a CGI-animated sequel/remake to the original, produced exclusively for DVD.
  • Frank Miller was a co-director on Sin City, as Robert Rodriguez felt that being such a direct adaptation of the original comics (the visual compositions usually being directly lifted from the panels) meant that most of his directorial work had already been done for him by the creator.
  • Rómulo Gallegos was invited to work as the scriptwriter for the 1947 movie adaptation of his novel, Doña Barbara.
  • Stephen King made the movie Maximum Overdrive, loosely based on his own short story "Trucks" from Night Shift. He even released a trailer in which he directly addressed the viewer, boasting that if you want something done right, you've gotta do it yourself. It's the only movie based on his stories that he personally directed; however, its reception was pretty negative, an opinion King himself later agreed with. By his own admission, he was letting his cocaine habit do most of the actual work during filming, and boy does it show.
  • J. K. Rowling was fairly actively involved in the creative decision making for the Harry Potter films, note  and writes the Fantastic Beasts sister series herself, albeit with Steve Kloves as a co-writer on the third one.
  • Tom Stoppard wrote the screenplay for the film adaptation of his play Rosencrantz and Guildenstern Are Dead, and ended up directing it as well. Rather than seeking to keep everything the same, he had no hesitation about making substantial changes, adding new bits to take advantage of the new medium, and cutting out bits that no longer worked. He said in an interview that part of the reason he took the director's chair was that it "just seemed that I'd be the only person who could treat the play with the necessary disrespect."
  • Chris Roberts, creator of Wing Commander, wrote the story for and directed the movie.
  • Suzanne Collins, author of the Hunger Games book series, wrote the screenplay for the film adaptation of the first installment and executive produced the rest of the films.
  • The Perks of Being a Wallflower was written and directed by Stephen Chbosky, who wrote the original novel.
  • William Peter Blatty produced and wrote The Exorcist, which was based on his novel of the same name. More directly, he directed The Exorcist III, based on his novel sequel Legion, at least in part out of his disdain for Exorcist II: The Heretic.
  • Gillian Flynn wrote the film adaptation of Gone Girl.
  • Holes: After Richard Kelly's screenplay for the film was rejected due to being an In Name Only adaptation set in a post-apocalyptic world, original author Louis Sachar wrote the final screenplay himself, keeping the film very faithful to the book.
  • Jordan Mechner, the creator of the Prince of Persia franchise, was the screenwriter for Prince of Persia: The Sands of Time, doing the first two drafts of the script, and was on set during the filming. He is credited with writing the story.
  • An In-Universe example happens in Saving Mr. Banks, where P.L. Travers is given unprecedented creative control over the production of Mary Poppins by Walt Disney. Interestingly, this was the case in the actual production as well, though Travers was unhappy with the result.
  • Ernest Cline co-wrote the screenplay for the film adaptation of his book, Ready Player One.
  • Ed Wood directed Necromania, based on his own novel, The Only House.
  • Enki Bilal wrote and directed Immortal based on The Carnival of Immortals comics he wrote.
  • Takashi Shimizu directed Ju-on and its American remake, The Grudge. He directed The Grudge 2 and was an executive producer on The Grudge 3.
  • Thea von Harbou wrote the screenplay for Metropolis, which was based on her book of the same name.
  • Astrid Lindgren was deeply involved in writing scripts for films based on her novels. This came about after she famously disowned the 1949 film adaptation of Pippi Longstocking.
  • Famously played with with Willy Wonka & the Chocolate Factory, an adaptation of Charlie and the Chocolate Factorynote . Although the screenplay is credited to Roald Dahl, much of his script was altered by ghostwriters, which included the addition of the "gobstopper test" in order to give the movie a villain (Slugworth) and a moral. He hated what had been done to his script so much that he (allegedly) stated in his will that the book's sequel, Charlie and the Great Glass Elevator, would never be adapted into a movie.
  • Michael Haneke directed the original Austrian Funny Games and its English language Shot for Shot Remake.
  • Hans Petter Moland directed both In Order of Disappearance and its American remake Cold Pursuit.
  • David Rook wrote The White Colt in 1967, then wrote the screenplay for its 1969 film adaptation, Run Wild, Run Free.
  • Sam Raimi co-wrote and directed Darkman based on a short story that he wrote.
  • Peter Shaffer who wrote the play Amadeus made a screenplay of its film adaptation
  • Greg Rucka wrote the comic The Old Guard and the first screenplay and final rewrites for the film adaptation.
  • Peter Benchley wrote both the novel and the screenplay for The Island (1980). Benchley also wrote the first drafts of the Jaws script, being one of the two credited screenwriters.
  • Joe Ballarini wrote A Babysitter's Guide To Monster Hunting based on his trilogy of books.
  • Woody Allen adapted Play It Again, Sam from his play, while Shadows and Fog was based on his one-act play Death, which appears in the short story anthology book Without Feathers.
  • Ingmar Bergman adapted The Seventh Seal from his own play Wood Parting.
  • Dalton Trumbo directed only one film, an adaptation of his novel, Johnny Got His Gun.
  • Hannibal Rising had its script written by the book's author, Thomas Harris (who is also the one narrating the audiobook version).
  • Michael Crichton was a co-writer in both Jurassic Park and Rising Sun.
  • Kevin Jakubowski wrote the screenplay for the film adaptation of his book 8-Bit Christmas.
  • Florian Zeller directed and co-wrote a film adaptation of his own play, The Father.
  • Ernest Thompson wrote the film adaptation of his own play, On Golden Pond.
  • Aaron Sorkin wrote A Few Good Men from his 1989 play of the same name.
  • Steven Levenson, who wrote the book of Dear Evan Hansen, also wrote the screenplay of the film adaptation.
  • Michael Mann first became famous as the Show Runner on Miami Vice, which he parlayed into a career directing slick, modern crime thrillers like Manhunter, Heat, and Collateral. Naturally, when the film adaptation of Miami Vice went into production, he was the logical choice to direct it.
  • Pink Floyd bassist Roger Waters was the creative director for The Wall, which was heavily based on his personal experiences as a musician with a troubled upbringing. When the album was adapted into a film in 1982, Waters wrote the screenplay for it.


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  • Chance Calloway, the creator of Pretty Dudes, was an author before he created the show, so he adapted his own scripts into prose for the novelization. The book was published under his pen name C.S.R. Calloway.

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