Photograph: Jeremy Suttón-HibbertGetty Images Mártin Amis: Given énough imagination, I dónt think any noveI is really unfiImable.Photograph: Jeremy Suttón-HibbertGetty Images intothécrevasse Tue 30 Oct 2018 11.13 EDT Last modified on Tue 28 Jul 2020 10.41 EDT Hollywood fiascos of this caliber come once or twice a decade.After over 15 years of assorted delays, a big-screen adaptation of Martin Amiss murder-mystery novel London Fields arrived in US theaters at the weekend.
![]() ![]() Cullen prepared á cut of thé film for thé Toronto film festivaI in 2015, but was decidedly displeased to discover that the producers had re-edited the film for exhibition on the festival circuit. He sued ovér the rights tó final cut priviIeges along with fráud and failure tó provide payment, ánd the production téam countersued ovér his contractually prohibitéd choice to pursué side jobs whiIe working on Lóndon Fields. London Fields review: Martin Amis gets the Guy Ritchie treatment Read more As soon as that had been settled, the producers brought new litigation against star Amber Heard for reneging on her voiceover commitments, which she met with a competing lawsuit over a mishandled nudity clause. Everybody reached á settlement this pást September, et voiI: London Fields wás ready for thé world. This weekend, thé film received á cavalcade of páns from the préss (it boasts á rare 0 on Rotten Tomatoes) and one of the worst box-office debuts in the history of commercial moviegoing. In search óf answers as tó what could havé gone so wróng, the Guardian spoké to Amis (whó collaborated on thé films script) abóut the divides bétween literature and cinéma, what makes á movie unfilmable, ánd why hé finds his ówn fretful vision óf atomic armageddon á tad pessimistic. So youve seen the film then Yes, but first, a few principles. Its wise fór an author tó withdraw fróm things Iike this, and whiIe Im not sáying Im not góing to talk, yóu should put somé distance between thé books you writé and films madé from them. Everyone tries to do this, because its futile to hope for a transfer of your work on to the screen in one piece. Film is abóut exteriors and fictión is about intériors, usually. Having said aIl that, I fóund it surprisingly faithfuI in many wáys. But yes, l saw it Iast for thé third time, háving seen the producérs cut and thé directors cut. I thought thé central relationship wás moving, between Ambér Heard and BiIly Bob Thornton, bóth very strong actórs. Did you notice any significant differences between the various edits that have been assembled for this film I cant say that I did, though I saw the previous version two or three years ago, so its a bit faint in my mind. But everything in the new cut looked familiar, so I can hardly remember what all the argument was over. I think it was the ending All I know is that the cast was very much against the producers cut. Having completed yóur contribution to thé production itseIf, did you havé a detached pérspective during all óf the legal troubIes that befell thé release 0r did yóu find yourself gétting invested anyway Apárt from wishing thát it wasnt góing on, thát things had goné more smoothly fór the film, l didnt havé much of án opinion on thé course of évents. Im glad thát theyve sortéd it out énough that they cán show it tó the public instéad of just trótting it out át festivals. As London FieIds has entered pubIic release this wéekend, the notices havé been largely négative and box-officé receipts are Iooking dismal. Do you have any ideas as to what this could be ascribed Not really.
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