You Know Nothing, Hollywood: George R.R. Martin’s Adaptations Lament
The year is . The entertainment world, once abuzz with every frame of “House of the Dragon”, has moved on to the next big thing, leaving fans of George R.R. Martin’s “A Song of Ice and Fire” saga in a familiar state of limbo – waiting for winter, or at least “The Winds of Winter.” But the Song of Ice and Fire creator himself isn’t just holing up, chipping away at his magnum opus. He’s been observing, and what he sees in the world of adaptations has him, well, using a certain phrase we’ve all come to associate with knowing very little.
You see, GRRM, a man who knows a thing or two about dragons, direwolves, and devastating plot twists, isn’t exactly thrilled with how some screenwriters seem to be handling beloved source material these days. It’s almost as if they think they can waltz into Westeros or Middle-earth and, with a flick of their quill (or should I say, keyboard?), improve upon already established worlds and narratives. “You know nothing,” he might mutter, his eyes narrowing in a way that suggests those screenwriters might soon find themselves on the business end of a well-placed crossbow bolt.
Making Mountains Out of Molehills (and Vice Versa)
In a recent blog post – because even fantasy authors need to vent sometimes – GRRM delved into this very topic. He observed a growing trend: screenwriters taking liberties, wanting to “make the story their own.” While this sounds admirable in theory, GRRM argues that in practice, it often leads to, shall we say, less than desirable outcomes. He doesn’t mince words, folks. It’s almost like ordering a juicy, perfectly cooked steak and being served a plate of overcooked tofu instead. Sure, it’s still technically food, but it’s just not the same, is it?
GRRM, ever the wordsmith, uses a rather vivid analogy to drive his point home: he claims that these “improvements” only work about once in a thousand tries. That’s right, folks, a success rate. Imagine flipping a coin a thousand times and only getting heads once. It’s enough to make you question the very laws of probability, and in the realm of adaptations, it seems, the odds are just as dismal.
“Shogun”: The One That Got Away
Of course, every rule has its exception, and in the vast sea of adaptations that range from “meh” to “make it stop,” GRRM acknowledges a rare breed – those that manage to capture the essence of the source material while still standing on their own two feet. One shining example he cites is the miniseries “Shogun,” based on James Clavell’s epic novel.
This adaptation, GRRM argues, understood the assignment. It didn’t try to reinvent the wheel or mess with a winning formula. Instead, it embraced the heart of Clavell’s story, transporting viewers to feudal Japan with a level of detail and faithfulness that earned it critical acclaim and a permanent spot on GRRM’s (and countless others’) list of all-time great adaptations.
The Iron Throne of Irony
Now, you might be thinking, “Hold on a minute, isn’t there a smidgen of irony in all of this?” And you’d be right. Because, you see, GRRM’s own “Game of Thrones”, the TV behemoth that brought Westeros into our living rooms, wasn’t exactly known for its unwavering adherence to the source material. Remember that whole Red Wedding debacle in season three? Yeah, things went down a tad differently in the books.
Of course, GRRM wore multiple hats during the show’s run – creator, executive producer, occasional scriptwriter – and had a hand in shaping the narrative for television. And let’s not forget his involvement in “House of the Dragon,” the prequel series that’s already stirring up its own fair share of controversy (more on that later). But despite his involvement, the critical reception of “House of the Dragon,” with its deviations from “Fire & Blood,” hasn’t quite reached the dizzying heights of “Game of Thrones” in its heyday. It’s almost as if the internet, that haven of reasoned discourse, has taken to pointing out every plot divergence with the zeal of a Dothraki horde on the warpath.
The Bard of Westeros Speaks
This isn’t the first time GRRM has graced us with his thoughts on the delicate art of adaptation. Back in the before-times of , during a lively conversation with fellow fantasy maestro Neil Gaiman, GRRM delved into the nuances of bringing books to the screen. He made a distinction between “legitimate” and “illegitimate” changes, arguing that some alterations are necessary to bridge the gap between mediums. After all, you can’t exactly have a three-minute internal monologue about the existential dread of ruling the Seven Kingdoms in a visually driven medium like television, can you?
He even shared a rather amusing anecdote about his own early experiences in the entertainment industry, back when he was a young writer cutting his teeth on the rebooted “Twilight Zone” series. Turns out, even back then, GRRM had a healthy respect for source material. He’d been tasked with adapting a Roger Zelazny short story, but the network, in their infinite wisdom, insisted on a rather significant change – one that involved a certain character meeting a rather untimely (and, let’s be honest, unnecessary) demise. GRRM, ever the diplomat, tried to reason with them, but to no avail. The network held the purse strings, and ultimately, the story was altered.
Adapt or Perish: A Sign of the Times?
Sadly, GRRM seems to think the situation has only worsened since his chat with Gaiman. In a world of endless reboots, remakes, and reimaginings, it seems originality is becoming as rare as a Lannister with a conscience. GRRM, ever the observant chronicler of the human condition (and the occasional dragon), sees this trend as a reflection of something larger – a certain lack of creativity, perhaps, or a fear of taking risks on new, untested stories.
He laments the current state of the industry, where it seems like every other show or movie is based on something else. It’s enough to make you wonder if Hollywood has run out of original ideas altogether. But then again, maybe that’s just the cynic in me talking. Or maybe it’s the fact that I’m still waiting for “The Winds of Winter” to hit shelves.
Dragons, Dynasties, and Dramatic License
Speaking of “House of the Dragon,” let’s address the elephant-sized dragon in the room. While GRRM has expressed general approval of the show’s direction, he hasn’t shied away from acknowledging the changes made in the adaptation process. After all, “Fire & Blood,” the book on which the series is based, is written as a fictional historical account, leaving plenty of room for interpretation (and, dare I say, embellishment).
One particular change that tickled GRRM’s fancy involves King Viserys Targaryen, the reigning monarch in the show’s first season. In GRRM’s own words, the show’s portrayal of Viserys, played with a wonderful blend of regality and vulnerability by Paddy Considine, is an improvement on the character he originally wrote. It’s not every day an author admits that an adaptation actually made their work better, but then again, GRRM has never been one to shy away from speaking his mind. He’s even confessed to being tempted to go back and rewrite Viserys in the books to align more closely with the show’s version. Now, if that’s not the ultimate compliment, I don’t know what is.
