Etienne Borgers wrote:
> Normally contracts for books, scenarios... etc
picked
> up by Hollywood have a standard clause saying that
if
> the producer (studio, ... whatever) thinks fit
they
> can "re-use" any character of the story in
future
> films with or without the writers help... and in
any
> context they decide.
>
> So, in case of an existing and rather
successful
> series of books as it was the case with Parker,
one
> understands easily why the agents (or the
writer
> himself, I'm not sure) did not authorize the use
of
> the original name of their "hero" for the
film.
> This led to Walker in the classic Point Blank(Jim
is
> right for the name).
> I suppose Porter's name followed the same way
(even
> maybe a double reason, as being not even authorized
to
> use Walker again in the new- and very inferior-
film).
>
> E.Borgers
We've covered this subject before - it's in the archives.
Smarter than most writers, Westlake wisely put clauses in his
contracts when Hollywood (and France) came a callin' allowing
the producers to buy the stories of the various Parker novels
they were interested in, but not allowing them to own the
character. There have been at least seven Parker novels
turned into movies and with the exception of 1984's
SLAYGROUND Westlake has never allowed the character to be
called Parker. I think he wrote the screenplay to that one as
well and I'd bet his contract stated that he retained rights
to the character no matter what they called him. Writers who
write series characters and get courted by the movies should
emulate Westlake's business savvy whenever possible,
otherwise a producer can tie up two or more books just by
optioning the rights to one. It's happened to some pretty
smart people out there.
But not Donald Westlake (or Richard Stark).
TL
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