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The Making of Outlander: The Series: The Official Guide to Seasons Three & Four, by Tara Bennett
Download PDF The Making of Outlander: The Series: The Official Guide to Seasons Three & Four, by Tara Bennett
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Über den Autor und weitere Mitwirkende
Tara Bennett is a New York Times bestselling author and entertainment journalist. As an author or co-author she’s written more than twenty official movie and TV companion books, including The Making of Outlander: The Series: The Official Guide to Seasons One & Two; Sons of Anarchy: The Official Collector’s Edition; Showrunners: The Art of Running a TV Show; Fringe: September’s Notebook; Lost Encyclopedia; and The Art of Ice Age. Bennett is the west coast senior producer and podcast host for SYFY WIRE, a contributing writer for Sci Fi magazine, Total Film, and Fandom, and is a U.S. editor for SFX magazine. She is also an adjunct TV writing professor at Rowan University.
Leseprobe. Abdruck erfolgt mit freundlicher Genehmigung der Rechteinhaber. Alle Rechte vorbehalten.
Chapter 1 Outlander: The Origins “Will we ever get to see Outlander adapted for the screen?” Since the novel first came out in 1991, author Diana Gabaldon has fielded that question from enthusiastic readers almost daily. The story of Claire Beauchamp Randall and Jamie Fraser seemed an obvious choice for a cinematic retelling, but the project was not without its logistical challenges. With the novel weighing in at more than 600 pages, the core dilemma always centered on how much of the action-packed adventure would have to be cut just to fit the traditional cinematic window of two hours. With too much to lose to the proverbial cutting room floor, the world of Outlander remained strictly in the realm of print. It wasn’t until around 2010 that a possible solution started to present itself: a television series. Maril Davis, a development executive/co–executive producer for Ronald D. Moore’s Tall Ship Productions, was looking for potential properties to produce and had the books recommended to her by friend and softball teammate Matthew B. Roberts. “[Roberts] had read the books as a reader during one of his first jobs,” Davis explains. “He passed on the books because they wanted to do movies but told me they would be great for TV. I took him up on that and read them all the way through. “I loved them,” Davis says with unabashed adoration. “This to me was my passion project.” But the television landscape at the time wasn’t yet the haven for high-concept sci-fi series it seems to be today. “Game of Thrones was not on at that point. Ron had tried to do Dragonriders of Pern. It just didn’t feel like the timing was right.” Cut to a personal dinner Davis was having with Moore and his wife, Terry Dresbach, where the three started talking about the projects they had always longed to do. “I said, ‘My passion project is this book series called Outlander, and I would love to do them,’ ” Davis recalls. “I didn’t realize Terry was also a fan. So we talked, and Ron seemed intrigued.” “Terry and I talked about it after the dinner a few times,” Moore remembers. “But it wasn’t really until I sat down and started reading the book that I saw the potential.” From that first read, he says, he was struck by how Gabaldon’s writing kept surprising him. “By the time I got to the end of the book, there had been some significant twists and turns that I didn’t see coming. In my head, I could definitely see a season of television and how it works through a season. Plus the fact that, at that point, there were multiple books in the series just meant that it had a life beyond season one. I remember thinking, If the other books are anywhere near as good as this, then essentially I’m in.” Davis was thrilled to get the go-ahead to pursue. “I got in touch with the rights holder, Jim Kohlberg. We had a great meeting, but it was very obvious that they wanted to do this book series as films.” Davis left the meeting convinced a film would not do justice to the books. “Reluctantly, we walked away,” she says. “But I was like a dog with a bone,” she continues, laughing. “I just kept checking back every once in a while. One of the times, they were open to doing TV. So Ron and I went back in there and had a fabulous meeting, and it kind of started there.” Davis says they pitched Chris Parnell, executive vice president of Sony Pictures Television, to be their studio partner, but he was unfamiliar with the books. “To his credit, Chris went out and bought the book on tape and listened in his car, which was so cute,” she says. “He would call me every once in a while and be like, ‘I am sitting in my car blushing,’ which was hilarious.” By the book’s end, Davis says, Parnell was on board and ready to champion the show to the networks. The next step for Moore and Davis was to officially visit Gabaldon at her Scottsdale, Arizona, residence. “Just from the fan perspective, not even a producer perspective, I felt it was so important to get her approval,” Davis says. “I wanted her approval and just to make sure she was comfortable that this book was in the right hands. I wanted to assure her that we weren’t trying to exploit it and we understood what it was. There was Ron’s track record, certainly as an amazing writer but also as someone who obviously writes very strong female characters, from Battlestar Galactica to Carnivàle. I also wanted her to know that I was going to protect the series as well, it being so close to my heart and near and dear to me.” For Gabaldon, having the books in serious development after so many years of thinking it couldn’t work was beyond surprising. “People are always asking, ‘Why is it that you held out for Ron?’ The truth is that I didn’t,” she says with her trademark candor. “We were very careful who we did options with, because there was always a possibility that they would succeed. In which case, you will never get the rights back. We had done this only four times and, luckily, none of the first three times took.” But it seemed an Outlander series was finally about to happen in earnest. Gabaldon recalls that she was very curious about the pair who made it happen. “They came and spent two days with me at my house, talking over story lines, characters, and backstory. Asking had I written anything that wasn’t in the books that they should be aware of? Where did I see the story going? Ron was sharing with me his vision of storytelling and what he thought of the characters. I could tell that we were pretty much on the same wavelength with regard to the importance of a central character in a story, which predisposed me to him.” Gabaldon was also impressed during those initial meetings by the clarity of the vision Moore had for the series. “He began to share his own philosophy and his take on how things would work,” she goes on. “He said he would like to start [the series] with a little visual prologue that takes place before Outlander [the book] actually starts. He’d show Claire during World War II in a military hospital out in France, saving people’s lives. She is a central character, and we need to fix her in people’s consciousness immediately as the main person of interest. And I am sort of nodding as he is saying all this and going, ‘Yes. You are right.’ I could tell he did know what he was doing and I approved the direction he saw for doing it. “I gave them my blessing to start the script the way Ron wanted to,” Gabaldon explains. A few days later, Moore sent over his pilot script. “I told him when I read it, this is the only thing that I have ever read based on my own work that didn’t make me turn white or burst into flames, so I was favorably impressed.” Moore says gaining Diana’s favor gave them reassurance that they were taking the right direction with her work, which he felt was important given how devoted the series’ readers have proven themselves to be over the years. “We really wanted to engage and keep the fan base that was already there from the books and transfer them over to the TV show,” Moore explains. “Diana had her finger on that pulse for many, many years. She knew them pretty intimately, communicated with them, and had a good sense of what was important to them. She was a good indicator of where we were. She kept us in the lane.” For Davis, Gabaldon’s approval gave...
Produktinformation
Gebundene Ausgabe: 224 Seiten
Verlag: Delacorte Press (15. Oktober 2019)
Sprache: Englisch
ISBN-10: 0525622225
ISBN-13: 978-0525622222
Größe und/oder Gewicht:
21,6 x 1,3 x 27,6 cm
Durchschnittliche Kundenbewertung:
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Amazon Bestseller-Rang:
Nr. 21.697 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
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