Last week’s look at Captain Power and the Soldiers of the Future led to a questions – “When is an adaptation not an adaptation?” On investigation, Captain Power wound up being a parallel development. Gary Goddard had an idea for a TV series and Mattel had a technology they wanted to market. With Mattel’s backing, Goddard could produce Captain Power, at least for one season.
Captain Power isn’t the only work that looks like an adaptation but isn’t. In some franchises based on a series of books, a new entry starts in a different medium, but because of production time, the book gets released first. The 007 film, Thunderball, is such a movie. Fleming worked on the story for the film first, then wrote it as a novel while the movie was delayed. And this doesn’t happen to just franchises. Arthur C. Clarke’s 2001: A Space Odyssey began as a film treatment; he then wrote the novel while the movie went through production.
Figuring out what is and isn’t an adaptation does take research. Parallel developments aren’t apparent, even when checking the credits. It’s only after digging a bit that details come out. Some of that digging involves commentary tracks, so streaming isn’t always a good option for Lost in Translation. Fortunately, most creative types are happy to talk about the process with their works. It is easier to tell when a work is an adaptation, though. The credits state it outright, using phrases such as “Based on” or “Inspired by”. However, “Based on a story idea by” isn’t always a good indication. Many movies, including classics, begin from a story treatment submitted where there isn’t already an existing work.
Today, it’s easier to find out what is being adapted. Entertainment news and blogs will have this information out as soon as an announcement is made. Studios want and need fans of the original works to come out to the movie adaptation. Creators get excited about seeing their works in a new format. Finding announcements made in the last ten years is a quick web search away. Older works, though, may have had the announcements, but not with the same hype and not as easily found. Not everything is on the Internet. There are people who do the research, though, which does help.
Why mention these non-adaptations? They affect Lost in Translation in a two ways. First, there’s the discover of works that are suspected to be adaptations that aren’t. Captain Power last week is a good example. Likewise, Thunderball, which will be part of the 007 project, isn’t an adaptation. The film isn’t even an adaptation of the character to film. Ian Fleming wrote the screen treatment of the film before he wrote the novel; Thunderball is an original work in the 007 series with the novel being the adaptation. This issue is likely to show up in other franchises where the original work has grown beyond its original medium.
The second is the discovery that an adaptation isn’t. Reviewing a work does take time; both the original and adaptation must be seen. A longer work, either original or adaptation, takes more time. If it becomes apparant early that a work isn’t an adaptation, something else can be swapped in. However, reviewing longer works means that if the discovery is found on checking a secondary source, such as the commentary track or a website, then it gets too late to change gears. Sometimes, the non-adaptation can provide a look into the process of adapting, either by being an example of the problems faced or by showing how a creator works across multiple media.
Still, even these non-adaptations can provide an insight into how a work is adapted. Creators today can use the various media far more readily for far less cost than in the decades prior. Video cameras are now consumer goods. The Open Source movement means that video editing tools are easily found for low or no cost. Web sites are easily created and can allow creators to display their works, in full or in part, to entice potential audiences. Hollywood is the big producer, but it isn’t the only one.