TV Game of Thrones

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The season that’s about to debut covers the second half of the third book. The third book [A Storm of Swords] was so long that it had to be split into two. But there are two more books beyond that, A Feast for Crowsand A Dance with Dragons. A Dance with Dragons is itself a book that’s as big as A Storm of Swords. So there’s potentially three more seasons there, between Feast and Dance, if they split into two the way they did [with Storms]. Now, Feastand Dance take place simultaneously. So you can’t do Feast and then Dance the way I did. You can combine them and do it chronologically. And it’s my hope that they’ll do it that way and then, long before they catch up with me, I’ll have published The Winds of Winter, which’ll give me another couple years. It might be tight on the last book, A Dream of Spring, as they juggernaut forward.

Not only that, but Martin is up for a Breaking Bad or Mad Men-style hiatus inserted in the middle of the final season, or even a prequel season. That said, “I don’t want to sound too glib about this. This is a serious concern.” He continues, “We’re going forward, and the kids are getting older. Maisie was the same age as Arya when it started, but now Maisie is a young woman and Arya is still 11. Time is passing very slowly in the books and very fast in real life.”

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Spielor schrieb:

1. Romane haben Vorrang. Der soll die Bücher nicht hetzen nur damit sie die Serie sie nicht einholt. Allerdings darf er sich auch nicht zu viel Zeit lassen, denn man weiß ja nicht wie viel Zeit er selbst noch hat...

2. Wenn die Serie gut läuft spricht doch nichts dagegen es etwas langsamer angehen zu lassen. Momentan wird doch viel Material aus den Büchern fallen gelassen. Man könnte die Serie in Zukunft buchgetreuer umsetzen und würden GRRM zugleich mehr Zeit für die Romane zur Verfügung stellen. das ist eine sehr simple Win Win Situation.

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Freezi schrieb:

Ich bin darüber hinaus gespannt, ob man die Geschichte irgendwann auch mal als große Hollywood Trilogie verfilmen wird. Kann ich mir nach der wahnsinnig guten HBO Serie zwar nicht vorstellen, aber möglich ist ja alles.

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When David and Dan approached you, what was it about them that made you feel safe?

I was out in Los Angeles on other business, and my agent, Vince Gerardis put together a meeting for us at the Palm. We met for lunch and started talking about it, and the restaurant was crowded. My attitude going into the meeting was, "This things can’t be done, but I’ll meet with these guys." I’d met with other guys. Breakfasts and lunches and phone conversations. Initially, all the interest in it was as a feature film. Peter Jackson made the Lord of the Rings movies, the movies hit big, making tons of money, and Hollywood is basically imitative. So the minute you had that happening, every other studio in Hollywood said, "Oh my God, look at all the money New Line is making. We’ve got to get us one of them, too." And they started looking around at all the big fantasy series. And I think all of them were optioned, all of the fantasy books that were on the bestseller lists. And they came to me, to make features, but my books are bigger than Lord of the Rings. Lord of the Rings, really, all three volumes, if you combine them, are about the same size as A Storm of Swords. So I didn’t see how it could be made into a movie. And of course some people wanted to make it into a series of movies: “We’ll do it in three movies, like Lord of the Rings!” And I would say to them, “Well, we could maybe try that, but are we going to get a deal for three movies?” “No, no, we’ll make one and if that’s successful, we’ll make another.”

Well, that doesn’t lead to Lord of the Rings. Peter Jackson had a deal, when he finally got the green light on that, New Line ordered three movies. He knew he had three movies going in. He filmed three movies at the same time. There are some great economies of scale there. Also, at least you know you’re going to tell the whole story. If you do one movie and then we’ll see if we can make more, that gets you Narnia. That gets you Philip Pullman’s books, where they make one, it doesn’t do well – Gosh, we’re never going to get the rest of that story. I didn’t want that to happen to my books. I’d rather have no deal.

Fortunately, the books were best sellers, I didn’t need the money, you know, so I could just say no. Other people wanted to take the approach of, there are so many characters, so many stories, we have to settle on one. Let’s make it all about Jon Snow. Or Dany. Or Tyrion. Or Bran. But that didn’t work, either, because the stories are all inter-related. They separate but they come together again. But it did get me thinking about it, and it got me thinking about how this could be done, and the answer I came up with is – it can be done for television. It can’t be done as a feature film or a series of feature films. So television. But not network television. I’d worked in television. The Twilight Zone. Beauty and the Beast. I knew what was in these books, the sex scenes, the violence, the beheadings, the massacres. They’re not going to put that on Friday night at eight o’clock, where they always stick fantasies. Both of the shows that I was on, Twilight Zone and Beauty and the Beast, Friday night at eight o’clock. They think, "Fantasy? Kids!" So I wasn’t going to do a network show. But I’d been watching HBO. The Sopranos. Rome. Deadwood. It seemed to me an HBO show, a series where each book was an entire season, was the way to do it. So when I sat down with David and Dan at that meeting at the Palm, which started out as a lunch meeting and turned into a dinner meeting, and they said the same thing, then I suddenly knew we’re on the same wavelength here.

And I didn’t know that going in. They were feature guys. But they reached the same conclusion I did. And I was also very impressed by the fact that both of them were novelists, and I think they liked the idea that I’d worked in television, so I wasn’t going to be one of these prima donna novelists. “How could you change that thing?” I understood the process from the other side. But they understood what the process was like from the other side, too, because both of them had written novels, and in the case of David, he’d seen his novels adapted to films. So we had mirror-image backgrounds and we hit it off pretty well.

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