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The script has been adapted by Patrick Garland from Woolf's book, "A Room of One's Own," which is an expansion of two papers the writer herself delivered in Cambridge in 1928.
Another problem is that Fassbinder's dialogue (the script has been adapted by Mr. Belton and Barbara Sauermann from a translation by Denis Calandra), which realistically ascribes to the characters a self-dramatizing banality, demands imagination and confidence from the actors, and the two principals aren't up to it.
The script has been adapted to English-language sensibilities by Karey Kirkpatrick, and he and U.S. director Gary Rydstrom have taken great care to match the English words to Japanese lip movements as closely as possible.
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Originally developed for writing the Arabic language and carried across much of the Eastern Hemisphere by the spread of Islam, the Arabic script has been adapted to such diverse languages as Persian, Turkish, Spanish, and Swahili.
The Hebrew script has been adapted to some other languages, such as Arabic, Turkish (for the Karaite people of Crimea), and so forth, but particularly to German hence, Yiddish and Spanish hence, Ladino, or Judeo-Spanish.
With a few bells and whistles added, that's the straightforward material that has been adapted into a script by Mr. Myler and Mark Harelik.
The script has been optioned by Montecito Pictures and Paramount Pictures.
The important clue, Javid explained, was the script, which had been adapted by the implacable libertarian Ayn Rand from her novel of the same name.
The Guardian has been adapting swiftly.
The script - then called Lost Lady - had been adapted from Ethel Lina White's novel The Wheel Spins.
The script had been rewritten.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com