Angouleme 2022 – Comics and Films: From Page to Screen

Event related Shoot the book This conference, organized by the Civil Society of French Publishers (SCELF), provided an opportunity to bring together three market participants to hear them discuss the topic of adaptation. Were introduced : Pontavice signxilam President, Joey Brownan American scout who came to Angouleme to represent Netflix USA, and Guillaume ColbocAssociate director of development at Netflix.

It was first discussed what the three guests are primarily interested in when they encounter a comic book. They generally agreed to explain that when choosing an adaptation, what matters most is the protagonist’s strength, characterization, and his ability to develop throughout the story.

According to them, he has a strong character that can make the public stick to the license. It is necessary to know how important the union of director and screenwriter can be in order to transcend the source material, which is comics. Guillaume Colboc mentioned the case ” Great Odalisque ” cartoon Vives, Rupert as well as harvest mouse published by Aire-Libre, a comic where the action scenes are very impressive, the main thing, he says, is to find solutions to make something realistic and affordable in relation to what can be collected in terms of funds.

Cover of “Great Odalisque”
© Dupuis

Mark du Pontavis explains that, on the other hand, a license can be a huge marketing advantage, but it can also be a trap, as the brand is sometimes really restrictive. It is important, he says, to accept a point of view, a bias strong enough to liberate oneself from the original work: “ The reference universe has a narrative engine, characters. It is important to find a break in tone in order to fully own the license. To what extent can a narrative force detach itself from its original environment? Explosion didn’t work. It’s a lot of heuristic work when you’re reading a comic and want to adapt it. »

Cover “Explosion”
© Dargo

Joey Brown explains that it’s important not to focus on one single and unique project, and that, for his part, all of his focus is on individual voices that are part of the local dynamic, citing a recent Netflix series adapted from work from zerocalcare, Kobani is calling, (Kambourakis). The whole question, he says, is to determine how special the original work is.

Guillaume Colboc explains that there are no fixed rules, that ideas come from everywhere and that doors must be kept open. It justifies what Gaumont” Seek only favorites, but visions of adaptations that matter; suggestions to take the manufacturer somewhere. »

Photo: Francois Rissel

Specifically, they explain that the main thing is to stick to the vision of the adaptation, not a specific album, working in a trusting and transparent relationship with all stakeholders.

When asked about authors’ rights to review, Joey Brown replies that action should be taken if it lends itself to this, citing the principle: ” Don’t avoid us telling them fans, “I’ve been betrayed.” (Don’t avoid them lest they tell the fans “I’ve been betrayed!…”)

The market for adaptations is currently diverse, and there are obviously many different ways to shoot live (not to mention animation), which also includes the motivation and rationale behind the technical choice.

For those wishing to present adaptation projects, the three guests offer some advice:

- Write a synopsis of no more than ten lines in the form of a pitch.

- Associate this feed with visuals for the hook (2/3 of the image, no more)

- Have a certain quality of author representation (through publisher, agent, etc.)

It’s always nice to take…

This article remains the property of its author and may not be reproduced without his permission.

Read the rest of the Angouleme 2022 festival news here.

Leave a Comment