A Problem: “It’s Game of Thrones. They’ve got to kill someone.”

Recently, Ian McElhinney voiced his disappointment about the fate of his character, Barristan Selmy in season five of Game of Thrones. One of the top comments I saw on social media stated “It’s Game of Thrones. They’ve got to kill someone.”

That might be a problem. After watching season five, you could imagine that same comment coming from the writer’s rooms. “Well, it’s Game of Thrones. We’ve got to kill someone.”

Let’s leave the differences from the books out of it for now. Focus on that perception of the show. If you’re constantly trying to raise the stakes and shock the viewers by eliminating characters, you’re entirely missing the point. What you want to do is put your characters is more dire consequences.

Okay, I lied, I’m going to talk about the books. This is exactly what happens to Barristan Selmy towards the end of the A Dance with Dragons. Daenerys is missing  and as the Lord Commander of the Queensguard he left not only to uncover a conspiracy by her husband Hizdahr zo Loraq (Also killed off) but prepare for oncoming armies head for Meereen.

The show should be building tension and not desperately trying to shock. That is what felt off about season five of Game of Thrones. They’re are, in a sense, desensitising us all to the shock that shook us in all when Ned Stark and Khal Drogo died in season one. No one is going to care anymore if all you do is kill off characters.

Featured image: Ser Barristan – by Mike Capprotti ©

What’s So Exciting About Book Adaptations?

Patrick Rothfuss’s “The Kingkiller Chronicle” was recently optioned by Lionsgate for not just a movie, not just a TV, and not just a video game but all three. This has caused a stir amongst fans of the book all across the social media landscape while people who’ve never read the books are shrugging as they read this.

Put your favorite book in place of “The Name of the Wind” and imagine how you would feel. Are you excited? Finally, that book you fell in love with is going to be a movie, a television show, and a video game. It’s exciting news! Why though?
The readers who make up a fandom around a certain series have become savvy to how books become movies, TV shows, and video games. We’ve also seen how those adaptations can disappoint. I’ve written extensively on why our expectations for adaptations can be harmful, often expecting too much or maybe too hard to it without understand how these adaptations are made.
I don’t stand alone with the knowledge of the arduous process of making these projects nor have I entirely kept my Sword of Adaptation Criticism sheathed in regards to the last two seasons of “Game of Thrones.” The news of Patrick Rothfuss’ deal did beg the question, once my own excitement died down, why do we get so excited for news about adaptations in the first place?

The reality is: Do you have a favorite character? There’s a chance he or she may be cut from the script. Do you have a scene that cry every time you read it? Or feeling a swelling in your chest when that satisfying moment comes on the next page? It might not make it in there at all. That line from the book you quote all the time? It might be said by a completely different character because the one that originally said it was cut and now one word of it was changed so it’s just a little bit off from the original. That line though is of course everyone favorite who has seen the movie / show so you have to hear it said wrong all the time and attributed to someone completely different. Lucky you! That subplot you thought really developed the protagonist, the one that really got into his head, well there’s no time for that anymore.

These are just some of the pitfalls of adaptations. It’s not like the author can write the scripts, pick the casts (though sometimes they have a hand in that), designs the settings, costumes, and props. He or she is too busy writing their next book. Even if the author took the first crack at the screenplay there could be three others who rewrite next, and all of them have their own perspective on the series.

Just look what happened with the screenplay adaptations of the Harry Potter books. Steve Kloves may have set JK Rowling at ease when he told her Hermione was his favorite character, but he made the trio completely unbalanced by giving Hermione all of Ron’s best moments and dialog in addition to her own shining moments.

The fact is there is going to be change when it comes to the adaptation, and a lot of fans of the books are not going to like it. So why do we get excited at the prospect?
Because, and I think a lot of readers will agree, when you love a book you want others to love it too. Adaptations are the easiest gateway to that. I have many friends who decided to read “The Lord of the Rings” and “A Song of Ice and Fire” because of the Peter Jackson’s trilogy and the HBO series. As a result it has led to many great discussions and conversations about them to an English Major like myself, nothing is better than discussions about books.

Also, there is a bliss that comes when they get it right. I remember that feeling watching the pilot for “Game of Thrones” from the beginning when the gates to Castle Black opened to the end when Jaime Lannister lamented the things he does for love. Imagine that opening scene when we’re introduced to the Waystone Inn in whatever “The Kingkiller Chronicle’s” adaptation becomes is exciting. We want to see the world we imagine for so long.

The second question I asked myself after I asked why do we excited is why do we need adaptations? There’s a reason why writers need adaptations. Financially, being a novelist is chaotic. There is no steady pay but peaks and valley. If you’re a writer and you are entering that valley period an optioning deal may be what keeps you afloat. For readers, though, why isn’t the book enough? I’m speaking generally, of course, because there are definitely people out there that don’t feel the need for the adaptation and they’re self-aware enough to not indulge. If the story is still ongoing, it’s a chance to get more. If the story is over, it’s a chance for it to be revitalized for a new audience and for the reader to relive the experience.

It may not seem like it, but we want to like adaptations. Who doesn’t want new favorite movie or show? How nice is it to turn on the TV and see a story we love on it? We want more of the story and the world. That’s why it is exciting, the prospect of more of that story that make us happy.

Featured image “Wise Man’s Fear” by Marc Simonetti. 

Appreciating A Clash of Kings by George R.R. Martin

Most people, when talking about the A Song of Ice and Fire series by George R.R. Martin, rank A Feast for Crows as the least interesting followed by A Dance with Dragons.

The first time through though. the second book in the series, A Clash of Kings, bored me in every chapter that wasn’t a Tyrion or Davos chapter. It’s not the book’s fault but a fault of my own.

You see, I have this problem when it comes to reading. Every time I try to read a series in succession I grow bored, no, restless during the second book. It becomes hard for me to concentrate and I always end up putting the book down, especially since I’ve figured out this flaw, and picking up a different one. I think it might stem from my A.D.D. (which I was diagnosed for, not just the many people claiming to have it) but I can’t be sure.

Besides A Clash of Kings other victims of this dilemma include the second Mistborn book, The Well of Ascension by Brandon Sanderson, The Restaurant at the End of the Universe by Douglas Adams, The Adventures of Sherlock Holmes by Sir Arthur Conan Doyle, and even The Two Towers by J.R.R. Tolkien. It’s just when Sam and Frodo are climbing down the elven rope that I put it down though unlike the others listed I picked it back up shortly after. Spoilers ahead. 

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How Did Peter Jackson Read This Passage and Still Get the One Ring Wrong?

In book six, which is the first part of Return of the King, Samwise Gamgee is alone in Mordor with the One Ring having just found out Frodo is still alive and taken captive after the confrontation with Shelob.

     His thought turned to the Ring, but there was no comfort there, only dread and danger. No sooner had he come in sight of Mount Doom, burning far away, than he was aware of a change in his burden. As it drew near the great furnaces where, in the deeps of time, it had been shaped and forged, the Ring’s power grew, and it became more fell, untameable save by some mighty will. As Sam stood there, even though the Ring was not on him but hanging by its chain about his neck, he felt himself enlarged, as if he were robed in a huge distorted shadow of himself, a vast and ominous threat halted upon the walls of Mordor. He felt that he had from now on only two choices: to forbear the Ring, though it would torment him; or to claim it, and challenge the Power that sat in its dark hold beyond the valley of shadows. Already the Ring tempted him, gnawing at his will and reason. Wild fantasies arose in his mind; and he saw Samwise the Strong, Hero of the Age, striding with a flaming sword across the darkened land, and armies flocking to his call as he marched to the overthrow of Barad- dûr. And then all the clouds rolled away, and the white sun shone, and at his command the vale of Gorgoroth became a garden of flowers and trees and brought forth fruit. He had only to put on the Ring and claim it for his own, and all this could be. In that hour of trial it was the love of his master that helped most to hold him firm; but also deep down in him lived still unconquered his plain hobbit- sense: he knew in the core of his heart that he was not large enough to bear such a burden, even if such visions were not a mere cheat to betray him. The one small garden of a free gardener was all his need and due, not a garden swollen to a realm; his own hands to use, not the hands of others to command. ‘And anyway all these notions are only a trick,’ he said to himself. ‘He’d spot me and cow me, before I could so much as shout out. He’d spot me, pretty quick, if I put the Ring on now, in Mordor. Well, all I can say is: things look as hopeless as a frost in Spring. Just when being invisible would be really useful, I can’t use the Ring! And if ever I get any further, it’s going to be nothing but a drag and a burden every step. So what’s to be done?’

Peter Jackson, Phillipa Boyens, and Fran Walsh must have read The Lord of the Rings before they decided to write the scripts yet somehow to most of the viewing audience the only power the One Ring had was to turn people invisible. Then again these are the same people who thoughts a simile about stretching shadows meant Balrogs had wings, that the metaphor for Sauron’s reach across Middle-Earth meant he was a giant flaming eye, and that because Ents language is much slower than English that this meant they were both passive and unaware of Saruman’s destruction.

I wonder if people ask them the same questions friends will ask me when they find out I am an avid reader of Tolkien. “Why is the One Ring such a big deal if it just turns you invisible? To convey it did anything else, it was probably a bad idea to show that scene of Isildur retreating into the water with the ring on and turned invisible. It was probably a bad idea to cut this bit of dialog between Frodo, Sam, and Galadriel.

‘I would ask one thing before we go,’ said Frodo, ‘a thing which I often meant to ask Gandalf in Rivendell. I am permitted to wear the One Ring: why cannot I see all the others and know the thoughts of those that wear them?’

‘You have not tried,’ she said. ‘Only thrice have you set the Ring upon your finger since you knew what you possessed. Do not try! It would destroy you. Did not Gandalf tell you that the rings give power according to the measure of each possessor? Before you could use that power you would need to become far stronger, and to train your will to the domination of others. Yet even so, as Ring- bearer and as one that has borne it on finger and seen that which is hidden, your sight is grown keener. You have perceived my thought more clearly than many that are accounted wise. You saw the Eye of him that holds the Seven and the Nine. And did you not see and recognize the ring upon my finger? Did you see my ring?’ she asked turning again to Sam.

‘No, Lady,’ he answered. ‘To tell you the truth, I wondered what you were talking about. I saw a star through your fingers.”

You could easily cut to her ring after showing Frodo, then do it again after showing Sam to show he can’t see the ring. You can cut this dialog down a bit and still have it explain how the ring works. This is literally dialog you could of used, Jackson. You show plenty of times when resisting putting on the ring is difficult, but you do a terrible job of showing why the ring is a power, a threat, and wanted by Boromir and Denethor (Faramir too in the movie version.) What about how the ring makes Frodo appear to Sam when Gollum swears upon the precious?

For a moment it appeared to Sam that his master had grown and Gollum had shrunk: a tall stern shadow, a mighty lord who hid his brightness in grey cloud, and at his feet a little whining dog. Yet the two were in some way akin and not alien: they could reach one another’s minds.

That’s not a metaphor, that is literally how the One Ring’s power affects Frodo by being its bearer. Hard to convey, maybe, but no less hard than the spirit world in which Frodo enters when he puts on the ring. Later when Gollum tries to suggest giving the ring to him Frodo tells him.

In the last need, Sméagol, I should put on the Precious; and the Precious mastered you long ago. If I, wearing it, were to command you, you would obey, even if it were to leap from a precipice or to cast yourself into the fire. And such would be my command. So have a care, Sméagol!’

Having this dialog would

  1. Show how the ring gives the power to command, even to a hobbit.
  2. Show how Frodo has grown in power, even though the ring is making him weak physically the closer they get to Mordo
  3. Show how susceptible Gollum is to the power of the ring
  4. Give some well needed credibility to your version of Frodo, who has been made younger and has all the parts where he has shown any sort of bravery cut from the movie, but that is a post for another time.

It is one thing to cut parts of the book out of the movie. Obviously there are time restraints but some of these moments would add seconds, maybe five minutes at most that could easily but cut elsewhere.  It is not a matter of audiences being dumb either, but the One Ring in Peter Jackson’s The Lord of the Rings is not explained very well at all. It is portrayed as more of an sigil for addiction rather than an artifact of power.

 

The Battle of Pelennor Fields | Quote by J.R.R. Tolkien

“In rode the Lord of the Nazgûl. A great black shape against the fires beyond he loomed up, grown to a vast menace of despair. In rode the Lord of the Nazgûl, under the archway that no enemy ever yet had passed, and all fled before his face.

All save one. There waiting, silent and still in the space before the Gate, sat Gandalf upon Shadowfax: Shadowfax who alone among the free horses of the earth endured the terror, unmoving, steadfast as a graven image in Rath Dínen.

“You cannot enter here,” said Gandalf, and the huge shadow halted. “Go back to the abyss prepared for you! Go back! Fall into the nothingness that awaits you and your Master. Go!”

The Black Rider flung back his hood, and behold! he had a kingly crown; and yet upon no head visible was it set. The red fires shone between it and the mantled shoulders vast and dark. From a mouth unseen there came a deadly laughter.

“Old fool!” he said. “Old fool! This is my hour. Do you not know Death when you see it? Die now and curse in vain!” And with that he lifted high his sword and flames ran down the blade.

And in that very moment, away behind in some courtyard of the city, a cock crowed. Shrill and clear he crowed, recking nothing of war nor of wizardry, welcoming only the morning that in the sky far above the shadows of death was coming with the dawn.

And as if in answer there came from far away another note. Horns, horns, horns, in dark Mindolluin’s sides they dimly echoed. Great horns of the north wildly blowing. Rohan had come at last.”

via Goodreads | Quote by J.R.R. Tolkien: “In rode the Lord of the Nazgûl. A great black s…”.

Gives me chills down my spine every time I read it. One of the few times Peter Jackson was able to evoke the same kind of emotions in the film version was Rohan’s charge into battle.

 

Never Going to Watch HBO’s The Leftovers.

In The Leftovers, based on the novel by Tom Perrotta and developed by Damon Lindelof (Lost, Prometheus) a mysterious, a event has occurred making 2% of the world’s population disappear. Both the Perrotta and Lindelof have said here and here have said it isn’t about the mystery but about how the characters react and change to it.

That’s well and good but it isn’t the kind of storytelling for me. I need both, character development and answers to the mystery. The whole point of even having a mystery in a story is to eventually answer it. What Lindelof loves doing instead is using the mystery in order to explore his pseudo philosophy about the meaning of life, a mystery that he cannot answer. I already have a story like that, we all do, it’s called life and I am not looking for the ambiguity of life in the stories I consume. The problem I have with his style of writing is either he doesn’t answer the question or the answers he provides are so anti-climactic (Lost & Prometheus) that I am left feeling like I wasted my time. The fear of their time being wasted, in my personal opinion, is why people hate spoilers. When you spoil a story for someone you’ve essentially taken the joy of discovery away from them thus watching, reading, listening to it is now a waste of time. With Lindelof everything I have watched by him makes me feel like I’ve wasted my time because his character development doesn’t connect with me, his protagonist often coming off unlikable, ineffectual and his answers are either not there or disappointing.

Modern mystery and thriller novels have the opposite problem. All the stories has is answers, answers I’ve usually figured out early into the book. Without the character development in their protagonist the journey to the answers I already guessed isn’t very interesting to me.

Plus, what I don’t understand is what does that character development even mean if there is no resolution or a poor one? What makes it matter? That’s not what interests Lindelof as a writer. So I am not interested in his writing and I am not going to waste my time with The Leftovers.

A Word on the Desolation of Smaug – Extended Edition Trailer

The blu-ray for the extended edition of The Hobbit: Desolation of Smaug comes out November 4th in the United States. My copy will hopefully arrive that day but in the meantime here’s a trailer that offer two major bits that got axed from the theatrical edition.

First of all, though he looks a little tall to me in the trailer, that is Thráin, Thorin’s father, confronting Gandalf in Dol Goldur and shouting that Thorin must never enter Erebor. Finally, after getting a name drop in the extended edition of An Unexpected Journey perhaps what has happened to the last dwarven ring of power will be explained. Also, with the jumbling of time Jackson has done I can’t wait to see how he explains Gandalf getting the key and map from Thorin’s father before they’ve actually met in Dol Goldur, that being originally how he got it in the books.

Second, there’s Beorn, barely even in the theatrical release it seem, and this is just my guess, most of what was cut from the film involves Beorn. Before the release of the film there was talks of Beorn hunting down orcs at night to corroborate Thorin and Gandalf’s story. The other part seen in this trailer involving Beorn is in his garden with him chopping wood, possibly for a scene of exposition between Gandalf and Beorn or perhaps the introduction of the dwarves and the telling of what has happened to them so far just as in the books. Also, it looks like a scene in the forest involving Beorn and Gandalf is included as well. It could be possible that Beorn escorts Gandalf part of the way to Dol Goldur considering that the wizard has one of his horses.

Also in the trailer, besides reiterating what was in the theatrical release are scenes involving a conversation between Thorin and Bilbo upon arriving in Laketown and one between the Master of Laketown and Alfred of what Thorin’s quest means to him.

Not included in the trailer but released earlier this summer is extended Mirkwood scene mirroring the one in the book where they have to cross the river and poor Bombur falls into the enchanted water and the company is forced to carry him. You can see most of that scene here:

In interview, Richard Armitage mentions Bilbo and Thorin seeing the white stag, just like in the books, but this stag is projection of Thranduil into the forest. Thorin will try to kill it of course, because dwarf king no like elf king.

It’ll be interesting to see what else was cut that are scenes from the book and what Peter Jackson, Philippa Boyens and Fran Walsh made up for their version of The Hobbit.

Goldman’s The Princess Bride is the best adaptation of Goldman’s The Princess Bride conceivable.

After just finishing reading William Goldman’s The Princess Bride I couldn’t think of anything better to do than to watch the movie that was adapted from it.

The movie, I believe, was better for once. A rare occurrence but one that I will argue my case for.

In my opinion, the movie was better.

In my opinion, the movie was better.

It certainly helps that the screenplay was written by the author of the novel. Most screenplay writers when adapting a book make changes to the story to not streamline the story for time but often change plot points, character motivation and character development that they feel fits better in a film and puts their own twist on the story. Nothing wrong with that mind you, change is part of adaptations. What William Goldman did however was instead take the novel he had written and streamlined it for film without cutting any part of what made the story charming and engaging.

Goldman managed to make a film version of his novel without cutting anything that makes it great.

Goldman managed to make a film version of his novel without cutting anything that makes it great.

Let’s get the negative parts of the adaptation over with that way we don’t have to dwell on it too long.. Out of all the characters the one that suffers most from the change from book to film is Prince Humperdink. His character looms over much of the plot in the book. A  much more intimidating, sociopathic and physically capable figure who poses a major threat to Westley and Buttercup’s romance. His abilities as a great hunter and tracker are explored with greater detail to back up his claim, rather than in the film when the characters just state it as fact. It could be argued that his tracking of Westley and Buttercup in Guilder showcase his hunting skills in the movie but I was never really sold by it too much. 

While Chris Sarandon did a great job as Prince Humperdink he comes off as more of a sniveling schemer who is in fact quite weak compared to the strategic military-like mind of the Prince Humperdink of the book.

What else the reader will get from the book that we don’t get as much in the movie is the backstories of Inigo Montoya and Fezzik. If you love those characters then I highly suggest you read the book. You get both of their upbringings, their trainings and how they end up with Vizzini. Their friendship blossoms in the book as well as Fezzik’s love for rhyming that the film just lightly touches upon.

Speaking of Vizzini, while I would never want to lose Wallace Shawn’s portrayal of the character we don’t get a great understanding that he is fact the planner of the trio. He just comes off sort of silly and dimwitted next to Westley. With the use of backstory we learn that the trio had been successful before in doing mercenary work like this in the past using Inigo’s fencing skills, Fezzik’s strength and Vizzini’s plans. Lastly, and this isn’t the movie or the books fault, but if you’ve seen the movie before you read the book the surprise of the Westley being the Man in Black is ruined for you as it is hard to disguise someone’s look and voice to make that surprise work especially considering when it came out.

Details is what is key. If you like details I highly suggest reading the book because you get better details of every main character and some characters who never get named in the movie. That was what was a shocker for me, that those small characters didn’t get cut from the movie at all. Yellin, the man who has the key to the castle, the Albino who helps Count Rugen torture Westley, Miracle Max’s wife, the lady who boos Princess Buttercup and even Prince Humperdink’s parents who do nothing to move the plot along in the book at all still make appearances in the movie. What else is significant is all the best lines from the book make it into the movie as well. In this day and age book readers usually have to prepare themselves for their favorite line or character to be cut. Not so with The Princess Bride, everything from As You Wish down to To The Pain make it into the movie. Reading the book in a sense was like reading more detailed version of the script while also getting new details about all the best characters.

What was removed from the movie that it benefitted from was two things. First of all, while entertaining, the framework of Goldman translating S. Morgenstern’s much longer version of The Princess Bride into the short version his father read to him as a kid tends to go on too long and interrupt the flow of the story. The part the movie uses involving the grandfather and the grandson in place of Goldman and his father still has the great framework of the story being read to a child without so many interruptions like in the book.

The other part that the movie loses from the book is the horrible ending. Not horrible in the sense it was poorly written or ill conceived but it is so anti-climactic and covered in loose ends that it reduces the rating I gave the book by a whole star on Goodreads, all to sell this weird theme of life isn’t fair. The movie has a much more satisfying ending to both cap off the main characters of Inigo, Fezzik, Buttercup and Westley and ends sweetly with the Grandfather and Grandson. The book’s ending fails on on all fronts.

Inconceivable! A movie would actually have a better ending than the book? It's true.

Inconceivable! A movie would actually have a better ending than the book? It’s true.

So do I recommend the book? I certainly do as I am the type of reader who enjoys the little details along with a good plot. Ultimately though I do believe Goldman did a better job of taking his novel and making into a much better screenplay and film.

Movies will never be books, and TV too.

 

If you’re reading this, it is safe to say you are living in the 21st Century. I don’t imagine this blog will find its way in any century besides this one. Therefore, you most likely have some experience with novels, television shows, and movies.

     Anyone who has ever had a favorite book or merely just a book they were the slightest bit fond of has an understanding of the adaptation whether it’s for television or the theater.
     Adapting novels to a visual medium isn’t anything new and it isn’t limited to movies and television but what I am focusing on here is the adaptation in the age of information.
     It seems like people often believe Hollywood has not experienced economic turmoil with the rest of us over the last thirteen years. You read about these ridiculously high numbers going to the cast’s salary, the budget, and at the box office and it’s more money than most people have ever had in their life. However, like the rest of, film studios have had to adjust to rising cost of, well, everything along with dealing with people’s expectations of what a movie should look like.
     Along with dealing with this they’ve had their struggle adjusting to the digital age. The way in which we are able to watch film and television has drastically changed in the last thirteen years as evidenced by the Netflix or other service streaming on your television, desktop, laptop, smartphone, or tablet.
     This is no way a defense for the film industry as I’m sure they’re lobbying for the next version of CISPA and SOPA, a tactic to control the chaotic frontiers of the internet out of fear of piracy instead of adjusting to change. It does, however, help explain the rise of the franchise.
     The first year of the 21st Century saw two film franchises begin based on very popular books. Harry Potter and the Sorcerer’s Stone and The Lord of the Rings: The Fellowship of the Rings were both highly ambitious adaptations setting precedents with their production, presentation and box office sales.
Alongside this, the superhero franchises are just beginning their rise with the likes of X-Men and Spider-Man. The success of these films displayed you could establish franchises in genre fiction that wasn’t there before, as well as adapting what previous generations of Hollywood filmmakers deemed “unfilmable.”
So we have…

  • Hit series of films based on a book and comic books in Harry Potter, The Lord of the Rings, X-Men, and Spider-Man.
  • New technology in special effects including but not limited to CGI
  • Economic turmoil increasing the cost of production of movies.
  • Ease of access to information through innovation in higher speed internet and the rise of desktop computers, laptops, smartphones, and tablets.

All of this blended together leads to what we’ve seen in Hollywood the last thirteen years and beyond. Books and comic books to an extent have an established audience and likewise so do sequels. Why take a risk on an original script when adapting a series of books proven to sell on the New York Times Bestseller Lists is a much lower risk?
So here we are, watching our favorite books become movies step by step. With a few taps of the keyboard and a few clicks we know who bought the films rights, who is writing the script, who is directing, who is cast as the main character, what the costumes will look, what changes the story were made. Change is the keyword here, a common fear amongst everyone, not just exclusive to book adaptations either.
Here’s the thing fellow bibliophiles and regular readers, Movies will never be books and TV too. You all know the inner monologue is the first things to go when it comes to the adaptation, but it isn’t the last.  With books, there is no limit to the imagination but with film and television there is nothing but limits that often are stretched much further than deemed possible by the filmmakers themselves.
Money, is, of course, the number one limit to the adaptation of a book. Everything has a financial limit and this often leads to sacrifices. Sacrifices that have a cost to the storytelling as well. There might be the technology to pull off that epic battle scene in your favorite novel, there might be the perfect actor who fits exactly what the protagonist looks like and sounds like, and there might be the perfect director who loves the script, loves the novel and always imagined bringing its world to life. None of these factors are free, though, there’s a reason writing novels isn’t called the novel business but making films is called the movie business.
None of these people are going to be free and sometimes sacrifices are going to have to be made in order to get one of these factors over another. You may have to settle for the second choice actor in the film in order to get the special effects budget you need or, on the other hand, you get the actor you wanted but that battle scene needs to be scaled down.
There are so many factors that could go wrong on a movie. In filmmaking you are lucky to get your movie made, for it to be any good, and then for it to be successful which is what an adaptation of a series needs in order to make books two through the final book.
These all difficult and daunting tasks that don’t necessarily happen for the majority of movies. Scripts get multiple writings and revisions by writers who are usually not the author of the original novel, all of with their own takes, voices, and perspectives that they are trying to convey through someone else’s story. There’s no guarantee that these writers are passionate about the novel they are transferring to film. The same goes for the director, the actors, the producers, and the studio distributing it.
My advice to readers? Let go. You can’t think of film or television version of the novel as the visualization of the novel. Corey Olsen, also known as The Tolkien Professor broke it down fairly for readers when discussing The Hobbit: An Unexpected Journey on an episode of his podcast, Tolkien Chat 12: Adaptation and the Hobbit Movies when discussing film adaptations that you can apply to TV as well.

I’ve often said a movie is different from a book. The first thing you have to keep in mind when you are going to see a film adaptation of a book is you’re not going to see a book on screen and it’s not fair to evaluate the thing you are seeing as if it were simply a transposition of the book on screen. It’s not a translation. It’s an adaptation. It’s a retelling. This is another version of the story. This is not Tolkien. This is Peter Jackson’s retelling of Tolkien’s story on screen and those are two different thing. You have a different person telling the story and you have a different medium in which the story is being told.

Believe me, I understand. One of my favorite books is the Hitchhiker’s Guide to the Galaxy and the film version failed to capture the satirical intelligence of Douglas Adams writing but these are not sacred text and as long as they keep making money Hollywood will continue adapting books to film. Your favorite book will still be there even if you don’t like the retelling of it in the film. The book was better,