Victoria Hislop had to learn to work with other writers as they adapted her beloved novel (Illustration: Amber Burrows)Īdapting a novel into a screenplay presents obstacles.
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But gradually, I accepted that new details, dramas, even characters sometimes have to be added to keep a TV audience with you. At the beginning it felt as if someone was snatching my baby and I experienced a visceral resistance to it. Working with four other scriptwriters who were adapting my words was challenging. Getting to the end without any interruptions from Covid was no mean feat when a cast and crew of 50-plus had to be kept safe.Īlthough it’s a tendency that I try to keep at bay, when it comes to the adaptation of something I have written, the control freak in me begins to take over. It was sad the project had come to an end but also a relief that we had created 12 episodes of beautiful, original television. That final moment when a film shoot finishes is bittersweet. It was something between a sprint and a marathon. From the day we had approval to make it, a huge team began to assemble: producers, writers, crew, actors, editors – and the race to complete it started. Less than a year ago, I began working on the adaptation of one of my novels, Cartes Postales from Greece, for the Greek channel ERT.
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They sound like they might be used in a butcher or a sandwich shop… In fact, they resounded over the Cretan beach where a TV shoot that lasted more than four months finally came to an end.
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One day last week, as the sun rose over the sea, I heard the words “cut” and “wrap”.