Posts Tagged ‘Road to Perdition’

Road Trip

Tuesday, February 7th, 2017

Paperback:
E-Book: Amazon Google Play Kobo iTunes

One of the nicest things that happened to me last year – acknowledging that 2016 was something of a mine field I barely navigated – was the first-time publication by Brash Books of my complete prose version of Road to Perdition.

Thus far, however, we don’t seem to have sold many copies, and at risk of a hard sell, I want to encourage readers of mine in general and of Road to Perdition in particular that this is a book you don’t want to miss.

Perhaps you’ve read the graphic novel and don’t see the point in revisiting this story, particularly if you’ve seen the movie. Or maybe you read the previously published version and figure that, even though it’s 30,000 words shorter, you’ve already experienced this story in prose.

You haven’t. The Brash publication of Road to Perdition brings into print (and e-book) one of my best novels. And it’s a novel that begins (and in this case completes) the trilogy of Road novels that includes both Road to Purgatory and Road to Paradise.

I should also make clear that the new Road to Perdition novel (and it’s “new” despite having been written in 2001) is not just 30,000 words longer – it’s a different novel entirely. To explain, I have to revisit the painful experience of writing it.

Knowing that someone would write the “novelization” of the film based on the graphic novel by Richard Piers Rayner and me – and being, at the time, a hot property among novelization writers – I lobbied to get the assignment myself. I had already done the very successful novelization for DreamWorks and NAL of Saving Private Ryan. It sold half a million copies and was on the New York Times bestseller list. I got the Perdition assignment.

My approach to writing a movie novelization (I hate that term!) is not entirely standard. Unlike a lot of tie-in writers, I throw out much of the dialogue and write my own. (I’ll speak in the present tense here, though it’s doubtful I’ll ever write another movie tie-in novel.) My reasoning is that movie dialogue and novel dialogue are two different animals. In addition, movie scenes – very short, often two pages or less – need fleshing out.

Similarly, movies tend to skip scenes and let the viewer fill in. A movie doesn’t have to explain how a bunch of characters got from point A to point D, because the movie depicts those characters at point D – so they must have got there, right? But in the novel version, I would write about getting from point A to point B and point C before doing point D. In other words, I add scenes.

I once had a call from director Jonathan Moslow, whose U-571 I had novelized. He told me how much he liked the book – this was the only such call I ever received, by the way – but wondered how I’d known to cut several scenes and also to add several others that had not been in the screenplay. I explained that, in my modest way, I was a filmmaker myself – that I’d directed a handful of indie features. And when I read certain scenes, I’d known they’d be skipped; and when I added certain scenes, I’d known they’d be needed…or at least would flesh out the narrative for a reader of the novel.

In Saving Private Ryan, I not only changed the dialogue and added scenes, I did considerable research and wove all kinds of factual material into the narrative. (Later, when I was signed to write the Windtalkers novel – about the Navajo code talkers – I was specifically asked to give that script the same Saving Private Ryan-style research-driven approach.)

What I had learned, doing a dozen or more novelizations, was that what the Hollywood folks wanted me to do was “follow the script out the door.” In other words, I needed to include every beat of action and narrative in the screenplay, preferably in the same order. A conversation about something could be in different words than the screenplay, as long as it appeared in the same place and covered the same ground.

So when I approached the novel version of Road to Perdition, I took my usual approach. I wrote my own dialogue, and I restored material from the graphic novel that had not been in the screenplay. I provided linking scenes. I also added a lot of period detail and historical material that hadn’t made it into the graphic novel, either. The memoir aspect of the graphic novel I restored by way of italicized first-person openings for each chapter.

The novel was substantial for a movie novelization – something like 80,000 words – and I was proud of it. Felt it was my best movie novel and that it was a real complement to the original graphic novel. I sent it to my agent, who liked it very much (and he’s a tough audience), and the tie-in editor at NAL said it was the best movie novelization he’d ever read. He was thrilled. Ecstatic.

Happy times at the Collins household.

Then the DreamWorks people got hold of the book. They were not pleased. They could not have cared less that I was the creator of the original material. What they wanted – what they demanded – was that all of the dialogue from the screenplay be included, exactly as written. They also wanted any material not in the screenplay removed.

I made my case through my agent, and later directly to the editor. But editors who have a movie novelization on their lists answer to the movie studio, who must sign off on the manuscript before publication. So those editors tend not to rock the boat. Whatever the studio wants, the studio gets.

I went through numerous rewrites. In the first of these I put the movie dialogue in, but retained the extended dialogue of my own that had lengthened the scenes fore and aft. This is a necessary novelization technique because movie scripts tend to run 100 to 120 pages, and by contract the novel usually must reach 300 pages. Simple math means that some material needs to be added.

Nonetheless, I was required to remove any dialogue that had not been in the screenplay. To get the book up to any sort of length at all, I changed patches of my dialogue into third-person interior monologue. That’s one of the reasons why the complete Perdition novel isn’t just longer than the previous version, but substantially different.

The craziness continued. As the movie went through various stages of post-production, I was required to cut any scenes that were cut as the film itself was tightened in editing. Most novelizations include scenes that were cut from the film, and that’s one of the fun of reading them – getting deleted scenes, so to speak. Such cutting made mincemeat of the novel – one chapter was reduced to a page and a half.

When the book was finally published in its truncated, bastardized form, the length was around 40,000 words. I thought of it was the Scholastic Books version. That it made the New York Times bestseller list was a bitter victory.

Throughout the process of aborting my own child, I was told that it was director Sam Mendes himself who was insisting on these changes. I’d met Mendes on set and had a long, friendly, even warm conversation with him. I found it hard to believe he’d behave in this fashion. At the London premiere, we spoke again, and one of the things he said was, “I understand you wrote the novelization. I can’t wait to read it.”

So.

If you like my work, if you like Road to Perdition in any of its previous forms, go to Amazon or Barnes & Noble or BAM! and order Road to Perdition: The New, Expanded Novel. You are unlikely to find the book in any brick-and-mortar store, but I do recommended the physical book over the e-book, as it’s a handsome thing.

[Note from Nate: Actually, buy digital, too, since the e-book is currently on sale for 99 cents on Amazon, Google Play, Kobo, and iTunes. Heck, buy it at all four — who knows, maybe you’ll switch devices one day!]

[Also, Indiebound is a service that helps readers find a local bookstore where the physical novel can be special ordered, often online. Here’s the link.]

The sequel, Road to Purgatory, is also a handsome thing, and it’s just been published by Brash. (Read about it here: http://www.brash-books.com/book/road-to-purgatory-coming-in-february-2017/) Brash will be doing Road to Paradise as well, later this year or early next. The books have lovely uniform covers and will make a nice set for you to place on your bookshelf next to Nate Heller, Quarry and Barbara Allan.

The joy of having the real Road to Perdition novel exist will be greatly amplified if some of you actually read it.

* * *

People are always asking me what I’ve been reading. I know they mean novels, but as I’ve said here many times, I rarely read novels, and when I do, they tend to be older ones (lately Simenon’s Maigret novels).

Here are a few recent reads, all non-fiction:

An Unseemly Man, Larry Flynt – prepping for a Quarry novel about a Flynt-like murder target. Frank and smart, with the court battles over First Amendment issues often riveting.

TV (The Book)
, Alan Sepinwall and Matt Zoller Seitz, opinions and history about “the greatest American shows of all time.” Spotty, but readable.

A Life in Parts, Bryan Cranston. I mentioned this before – an excellent memoir by the Breaking Bad actor.

James Bond: The Secret History, Sean Egan. A decent look at Fleming and Bond, the latter in comics and video games as well as film and novels. No sense at all of the role Spillane played in the creation of the character.

That Kind of Woman – The Life and Career of Barbara Nichols, Richard Koper. A sad, repetitive look at the actress’ life. A lot of work went into it, but not really a professional job. Tons of good photos, though.

Andy & Don, Daneil de Vise – excellent dual bio of Andy Griffith and Don Knotts. Griffith is a fascinating guy, with a “Lonesome” Rhodes dark side.

Spotlight and Shadows – The Albert Salmi Story (2nd Edition), a fine bio by Sandra Grabman of the great character actor whose end was heartbreakingly tragic.

Arthur and Sherlock, Michael Sims. A look at the creation of Holmes by Doyle, ultimately unsatisfying, a detailed bio of the author cutting off after the publication of the initial Holmes stories.

A Mysterious Something in the Night: The Life of Raymond Chandler, Tom Williams. A pretty good bio of Chandler, though unremittingly sad. But for a picture section photo cutline, strangely omits any mention of Murder, My Sweet (a key film) and barely mentions the remake Farewell, My Lovely. Also agrees with any literary opinion of the notoriously cranky Chandler in a knee-jerk fashion. Nonetheless, worthwhile.

Wild Wild Westerners, Tom Weaver. B-movie maven Weaver talks to nineteen actors, writers and directors from the heyday of western film and TV, with standout interviews with Fess Parke, Andrew J. Fenady and June Lockhart.

See? I read.

* * *

Comic Mix has a giveaway contest for a Blu-ray copy of the Quarry Cinemax show.

A wonderful write-up on the Blu-ray release of Quarry is at DVD Beaver, one of my favorite sites (and not a porn one, despite its name).

Finally, here’s another Quarry Blu-ray review (haven’t received a copy yet myself).

M.A.C.

2016 Movie Wrap-Up

Tuesday, December 13th, 2016

As regular readers here know, Barb and I go to a lot of movies – generally one a week. That doesn’t mean we see everything, of course, so view these lists in that context. No particular order within categories.

Here we go:

BEST MOVIES

Hail, Caesar!
The Nice Guys
Star Trek Beyond
Hell or High Water
Doctor Strange

MOVIES WE WALKED OUT ON

The Boss
Bad Moms
Ben-Hur
The Magnificent Seven
Keeping Up with the Joneses

MOVIES WE WALKED OUT ON & MAYBE SHOULDN’T HAVE

Captain America: Civil War
Kubo & the Two Strings

MOVIES WE SHOULD HAVE WALKED OUT ON
Girl on the Train
Conjuring 2
Batman V Superman: Dawn of Justice

BEST MOVIE WITH BRENT SPINER

Independence Day: Resurgence

WORST MOVIE WITH BRENT SPINER

Independence Day: Resurgence

MOVIES THAT WERE BETTER THAN THEY HAD ANY RIGHT TO BE

Zootopia
Gods of Egypt
Legend of Tarzan
Deadpool
Neighbors 2: Sorority Rising

MOVIES THAT WERE WORSE THAN THEY HAD ANY RIGHT TO BE

Finest Hours
Ghostbusters

MOVIES WE ENJOYED BUT BARELY REMEMBER

Keanu
X-Men: Apocalypse
Central Intelligence

MOVIES THAT DID THE JOB

The Infiltrator
Masterminds
Rules Don’t Apply
Allied

BEST MOVIE WITH THE GROWN-UP KID FROM PERDITION

Everybody Wants Some!!

MOVIES THAT WE DIDN’T SEE BUT HATE ANYWAY

13 Hours
Dirty Grandpa
The Divergent Series: Allegiant
My Big Fat Greek Wedding 2
Alice Through the Looking Glass
Office Christmas Party

PRETENTIOUS TWADDLE

Arrival
The Witch
Nocturnal Animals

A few comments, since I didn’t review all of these films here over the year.

CAPTAIN AMERICA: CIVIL WAR just wore us down. We left with half an hour to go, generally ready to swear off super-hero movies. DOCTOR STRANGE, then, was an intelligent surprise. So was DEADPOOL, and I understand why anyone might not like its over-the-top nilhistic approach, but we both liked the kick to the seat of the pants it gave to super-hero movies.

ARRIVAL is slow and full of itself, and I found its big surprise obvious. THE WITCH was an unpleasant ride to nowhere. NOCTURNAL ANIMALS is misogynistic and generally unpleasant, with only the story-within-the-story having any merit, most of that coming from the always interesting Michael Shannon. RULES DON’T APPLY is an interesting and quirky return to film by star/director/writer Warren Beatty, a loving though occasionally acid valentine to Hollywood and a disguised autobiography. GODS OF EGYPT we watched at home in 3-D and had fun – no apologies forthcoming.

* * *

Our local weekly paper, Voice of Muscatine, did this nice write-up on the Grand Master award.

Here’s a good review of The London Blitz Murders.

J. Kingston Pierce gives a nice mention to the complete version of Road to Perdition published by Brash Books. Order that yet?

Nice words about the Quarry TV series as one of the year’s best literary adaptations.

And here the Quarry show makes another “best of” list.

Finally, be sure to check out the Quarry Facebook page.

M.A.C.

* * *

And this just in!

QUARRY: THE COMPLETE FIRST SEASON
Available February 14, 2017 on Blu-ray™ & DVD

New York, N.Y., December 12, 2016 – Season 1 of the “wildly entertaining” (TV Guide) Cinemax® series Quarry, loosely based on the novels of Max Allan Collins set in and around Memphis, is set to make its home entertainment debut on February 14, 2017. Starring Logan Marshall-Green as Mac Conway, this “impressively flawless” (Washington Post) series follows two soldiers’ return home from a second tour of duty in Vietnam. Quarry: The Complete First Season will be available to own on Blu-rayTM ($34.98) and DVD ($24.98), packed with bonus content including more than two dozen deleted scenes and new footage of interviews where Mac and his comrades testify to the events that led up to their discharge from the Marines. DVD and Blu-rayTM will also include a Digital Download copy.

Set in and around Memphis during the early 1970s, Quarry is a thrilling action drama that centers on the character of Mac Conway, a Marine who returns home from a second tour of duty in Vietnam. With his relationship with his wife Joni growing tenuous, Mac finds himself tempted by a lucrative offer from The Broker, a shady criminal involved in a network of killing and corruption that spans the length of the Mississippi River. After a series of events, Mac – whom The Broker codenames “Quarry” – finds himself conscripted against his better judgment into The Broker’s crew, a turn of events that has dire consequences for both himself and Joni. Gripping and “startlingly good” (Yahoo! TV), with action packed storytelling, the first season of Quarry promises to not disappoint.

Bonus Features include:

  • Deleted Scenes – A fascinating selection of more than two dozen deleted scenes from Season 1.
  • “Inside Quarry” – Get an inside look at each episode of Quarry with the cast and crew of the acclaimed series.
  • “Quan Thang Inquiry Scenes” – Check out declassified interview footage in which Mac (Logan Marshall-Green) and other soldiers testify to the events of the Quan Thang tragedy.
  • “About Quarry” – Delve inside the setting, characters and storylines of Quarry with the cast and crew.
  • “Music of Memphis” – Join the cast and crew for an inside look at the classic R&B soundtrack and live music seen in the show.
  • “Recreating 1972” – The cast and crew of Quarry reveal how they turned back the clock to recreate the sets and styles of Memphis in 1972.
  • “Love Letters” – Hear the recorded correspondence between Mac and Joni while he served in Vietnam.
  • “Car Chase Picture in Picture” – Join Quarry star Logan Marshall-Green for this action-packed look at the staging of a rough-and-tumble car chase from the series.
  • Music Videos – Watch a collection of music videos featuring some of the blistering tracks from the series.

Other cast members include: Nikki Amuka-Bird (“Luther”) as Ruth, a hardworking mother who is Joni’s close friend; Damon Herriman (“Justified”) as Buddy; Edoardo Ballerini as Karl, and Mustafa Shakir as Moses, three of The Broker’s most capable and ruthless henchmen; Jamie Hector as Arthur, Ruth’s husband and Mac’s best friend, who is also a Vietnam vet; Ann Dowd as Naomi, Buddy’s doting but unconventional mother; Skipp Sudduth as Lloyd, Mac’s father; Josh Randall as Detective Tommy Olsen, a dedicated member of the Memphis Police Department; and Kurt Yaeger as Suggs, who has fallen within The Broker’s sights.

Quarry: The Complete First Season
Blu-rayTM & DVD

Street Date: February 14, 2017
Order Date: January 10, 2017
Rating: TV-MA
Runtime: Approx. 480 minutes (excluding bonus materials)

* * *

Thanksgiving 2016

Tuesday, November 22nd, 2016

In a year like the one I’ve experienced, it might seem tough to be thankful.

Those of you follow these updates know that I’ve had some health issues. The year began with carotid surgery preceding open-heart surgery, during which I had a stroke. While not major, the stroke left me with a fairly useless right hand – couldn’t type, didn’t even have a signature. And a writer losing his or her signature has lost a key piece of identity.

What followed was a lot of work getting my hand functional again and recovering from the surgery with physical and occupational therapy. Also, in the run-up to the heart surgery, something growing in my lower right lung lobe made itself known, requiring keeping an eye on. Eventually I was scheduled to go in for surgery that would probably be just a closer look, but might result in more serious surgery.

While all of this was going on, my son Nate’s bride Abby gave birth to Sam Collins, a preemie who fought a brave battle for life. Nate and Abby practically lived in the hospital for a month while this little tadpole of a kid fought to be a baby. We visited as often as we could, though this was going on concurrent with my heart condition stuff, and that limited us some.

Then both Barb and I managed to get pertussis, which is to say whooping cough. I got mine in August and she got hers a few weeks later, and we are still coughing (the hundred-day cough, they call it). My adventures, recounted in detail in previous updates, included rushing back from New Orleans the moment I landed because Barb’s pertussis had sent her to the emergency room; and having my lung surgery postponed for a month to allow me to get over my bout with the stuff.

The surgery wound up being more serious. A baseball-size thingie was taken out of my lower right lobe. It’s now been diagnosed as MALT-lymphoma, which has nothing to do with old Pop Jenkins down at the soda shop.

Then, while I was recovering from the lung surgery, glued to the TV, I witnessed Donald Trump being elected president of the United States.

So what the hell do I have to be thankful for?

Almost everything (except for the Trump part).

We can start with this career that has allowed me to concoct stories and get paid for it for four decades. We can move from there to my wife Barb, whose love and support got me through all of the bullshit above – she always knows when I need a tender shoulder and also when I need a kick in the pants. She is not a self-pity fan.

From there we can move to my great son and his equally great wife, who gave me this wonderful grandson who has overcome all of the obstacles and is now smart and healthy and very funny. You may have a baby or a baby grandkid who seems pretty cool, but can yours do an evil maniacal laugh at sixteen months?

As for my travails, I was typing almost immediately when I got home from the hospital. Initially all I could move was the mouse, and for some weeks the sensitivity of the computer keyboard was how my weak right hand was able to register anything. But two weeks home after my three-week hospital stay (two of it in O.T. and P.T.), I was working on my draft of Antiques Frame. Before long I was writing The Will to Kill, the new Mike Hammer, and Executive Order with my pal Matt Clemens. Throughout every stage of various recoveries, I have found that my writing has been unimpeded, that it is a place I can go and think of nothing but the story at hand.

Every day I filled at least a full notebook page with my signature, and within a month I had it back. If you ever need an M.A.C signature, my wife can tear one of out the notebook I filled with them. (Ask for one from a later page.)

The pertussis Barb and I shared brought us even closer together, because we were dealing with it at the same time. I won’t pretend it didn’t suck, but something odd happens when you are sick and have a reasonable expectation to get well – you start to really, really appreciate normal, everyday life. To look forward to the most trivial damn things – a meal out, a movie, a walk on an autumn day.

As for the lung thing, I am in a wait-and-see mode, and have a few more tests to take, but I am assured this is a treatable, very survivable condition…and I may have no recurrence. At this point there’s been no talk of chemo or radiation.

If that comes, rest assured I will do everything I can to keep writing, and taking advantage of the support and friendship my readers, editors and my great agent Dominick Abel have always provided. Do not worry about me. I am fine, and I am blessed.

Thanks.

* * *

Here’s the Brash Books blog with stuff about Road to Perdition the novel and Quarry as well.

Here’s a nice latterday review of Kill Your Darlings, though oddly the Bouchercon aspect of the story (usually the favorite aspect of readers) is not so favored here.

Finally, here’s a cool review of Dan John Miller reading Better Dead.

M.A.C.

Quarry’s Daddy on the TV Series

Tuesday, November 8th, 2016

So what’s my opinion of the QUARRY TV series?

It’s a first-rate show. The finale (like the opening episode) is a feature-length crime story worthy of release as an indie film. The Vietnamese war sequence – one long take – is as remarkable a piece of filmmaking as I’ve seen in some time, capturing the feel and pressure and insanity of battle. The cast has been stellar, as well, and the cinematography, art direction, location work, music selection, those elements and more, have been damn near flawless. Greg Yaitanes directed all eight episodes, meaning he pulled off a sustained nine-hour movie, an amazing feat.

Yet I get e-mails and comments from some readers bemoaning that the show isn’t like the books, and in some cases I have been criticized for essentially selling out, letting a bunch of Hollywood punks run roughshod over my creation. Well, first of all, if somebody wants to give me money to make a movie or TV show out of my stuff, and the price is right, they can star a sock monkey and set the show on Venus for all I care. As James M. Cain said (slightly paraphrasing here), “Hollywood hasn’t done anything to my books – they’re right here on the shelf.”

The books are the books. They have existed and will exist, strictly on my terms. Certain aspects of the novels just do not translate to film (this includes the Quarry-derived film THE LAST LULLABY, which I co-wrote). The QUARRY novels are almost entirely dependent on the first-person voice of Quarry himself – his sense of humor, his personal philosophy, the very sound of the things he says, the irony, the black humor. That’s lost in any QUARRY adaptation, unless you use voiceover, which is just not the same (and usually clumsy).

Additionally, the books are short, compact narratives depicting the jobs that Quarry goes on – none of them individually would sustain a season of television. Once the decision was made to do long-form narrative like MAD MEN or BREAKING BAD, the near novella form of the novels had to be dropped. The approach of the novels is what TV folks call “procedural.” Cinemax wanted a cast of recurring characters with their own evolving storylines – the novels are lone-wolf affairs, with few if any recurring characters.

Nonetheless, I have been impressed from the beginning that writers Michael Fuller and Graham Gordy have been able to draw upon the novels in resourceful, respectful ways that guarantee that my DNA stays in the mix. The eight-episode season that just concluded draws heavily upon the first novel, QUARRY (1976), which presents Quarry five years into doing hits for the Broker. The backstory of that novel – Quarry coming home to find his wife having an affair, followed by Quarry killing the guy – is depicted in the first episode right down to how the cheater dies. As director Yaitanes has made clear, the TV series is an origin story, a prequel to the novel series. And Mike and Graham understood, from the start, that Quarry was a PTSD vet (though the term wasn’t around when I wrote the early novels) and that the Vietnam War was very much an underlying theme. I was very pleased when they agreed with me that the show be set in early ‘70s period.

The Broker remains very much my character, and the way he insinuates himself into Quarry’s life on the show is clever and satisfying. In the 1976 novel, Quarry discovers the Broker is involved in heroin trafficking and this initiates the deterioration of their relationship – that aspect is present in the series in a major way. Also, Quarry in that first novel is working with a gay partner who is losing his focus – also a major aspect of the series. Quarry’s self-hating annoyance at the Broker’s various proteges comes from the 1976 novel as well.

Don’t be confused by my Executive Producer credit – that’s doesn’t mean I have control of anything. The TV series is the vision of Fuller and Gordy (as executed by Yaitanes), and when I write an episode, I am following their lead. It’s their baby. And of course when I’m writing a QUARRY novel, it’s all mine. Nobody gets near that crib but me.

What is important is that the original novels get some nice attention drawn to them, because of the quality TV series the books have spawned. It means more sales. More readers. More money. Much as I love my work, this is not a hobby – I’m trying to make a living here. When something like the QUARRY TV series happens that I can be proud of, so much the better.

Haven’t watched Wild Dog on ARROW yet, by the way. Is he played by a sock monkey? Just wondering.

* * *

The extended battle sequence I mention above is discussed by director Yaitanes here.

Here’s a short, sweet review of the new expanded version of the ROAD TO PERDITION prose novel. It was picked up by AP and has had wide coverage on the Net.

Finally, here are “15 Things You Didn’t Know About Wild Dog.”

M.A.C.