I love to have the kids do a lot of improvising. How do you find the right balance when you're directing scenes of, you know, adolescent humiliation-make them feel comfortable and safe while you’re doing it? It's one thing to read a character saying “we must increase our bust” or demanding a bra, but it's another having to direct an actual child to do these things. An adaptation that's too literal can wind up betraying the book, you know? So it really came down to, how do I deliver the spirit of the book, the soul of the book? How do we make the movie make you feel that way too? If we've done that, then I think we've succeeded. The way I understand it, she was worried that somebody would stand all the edges off.Īnd also I think an adaptation, it requires you to make certain changes to make it work for the medium. She was afraid of it being screwed up, you know? Of it being cheesy, and also of it being Disney-fied-made into something really glossy and poppy, and very opposite from what she's known for, which is just those very honest details and characters who are flawed and confused. I think the book just meant so much to her and it meant so much to so many people. Is that why you think she initially didn't think Margaret would make a good movie? You can kind of see why: they're sort of episodic, there isn't a ton of plot. Until fairly recently, Judy said she didn’t want her books being adapted. I will never hear the name Ralph and not laugh. Ralph is like… I will never forget Ralph. I was like, “I'm gonna shut the door and read it fast as I can absorb all of it.” And I remember, right off I knew like, oh, I'm way too young to read this. That’s so funny, you read it in sixth grade.
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