Dear Evan Hansen movie? — Page 2

Ok, I read around the time the Matilda and/or Beautiful movies were announced that there's a rule/law that a show on Broadway needs to stay there, at least, 6 years before any adaptation.


Does anyone knows about this situation?


Here the phrase: ''The film cannot be released, at the earliest, until 2019 due to contract stipulations that prohibit any screen version appearing within six years of the musical's opening on Broadway.''


https://www.theguardian.com/stage/2013/nov/15/west-end-matilda-film-royal-shakespeare-company

thanks guys

Shh_413 said: "If this becomes critically successful and translates well to film, Ben Platt could complete his EGOT status all from the same property."

I think it’s more likely Cynthia Erivo would achieve this, I can better imagine Celie as an Oscar-winning role than Evan. But maybe...

Also, I’m still mad about those Emmys. How can anyone win an Emmy for a promotional TV perfor-okay, I’m not even going to start.

mhvp2012 said: "T. And I am going to promise you all, that two decade from now, since I am a filmmaker myself trying to break into the independent film industry once I pay my dues for the next 10-15 years, I am planning to when that time comes to acquire the REMAKE rights to produce my film version of the musical, under my proposed condition that Universal remain involved as just an investor and distributor and allow me and the producing team I would hire to have complete creative/artistic control over how the remake comes out. My version will be much more darker,serious and revealing than what I know Hollywood will put out there and forcefully push to sink it into our minds and think that we don't need another big screen treatment of it."

It's good to have long term plans.

mhvp2012 said: "JSquared2 said: "Has someone been day drinking on their day off from school?"

No. I have seen some of and trailers of Chbosky's previous work (the only one of his that really liked and appreciated was his co-writing on the live-action remake of Disney's "Beauty and the Beast," which was brought brilliantly to life by Bill Condon) and based on his work with teen dramas, I now know what his kind of directing and visual style is like and it's just going to make it look a little too generic and cliche (and note, I can imagine his versions of "Good For You" and "Sincerely, Me" not fitting in with the realism world at all, but my screenplay adaptation does make "Sincerely, Me" fit in as a musical number in a similarstyle of the way "Cell Block Tango" in "Chicago" (2002) was presented, while it unfortunately and for good reason cuts "Good For You.". And if their version is acopy-and-paste adaptation, the team may lose the opportunity to pen a new song to expand on Evan's character at the start of Act II, which my screenplay calls for.

I have seen and have been influenced by so many films throughout my life (musical and non-musical) and based on how I saw the accurate looking portrayals of dark subject matter (like in "The Social Network" (2010) and the 2012 film of "Les Miserables," also made by Universal), I feel like my vision and understanding of DEH's plot would better suit a cinematic portrayal of the musical instead of what I predict may happen, no matter what the results. While we go in to the movie theatres in the next few years open minded about what Chbosky will bring us, I will still know that what's going up there may not have been the film version we wanted all this time (this will be what I'll say in my head while watching the upcoming film,in the words of the Witch from "Into the Woods" if that is so: "Some of us don't like the way you've been telling it."."



No idea what you're trying to say --- but okay, sure.

I'm saying your current understanding of how studios handle IP as well as filmmakers' relationship with studios needs a little more real world understanding. I'm not saying anything about how good or successful your theoretical project would be.



A studio is not going to make a movie and then do a remake in less than 20 years if the original was a flop. No matter how different your vision is. It sucks, but it's the way the system is set up. Once it goes south, 2-3 generations of execs will consider that IP and maybe even subject matter, a loss leader. And talks of reviving it will go nowhere. If the original was a success, then they definitely won't because they will still be making $ off the original and they won't want to damage that property. It's taken over 50 years for a movie musical as successful as WEST SIDE STORY to be remade and only Spielberg is able to make that happen. It took over 20 years for ANNIE -- which was not a ginormous financial hit to be remade -- and part of the reason that remake got made is because it was for an entirely different audience than the original. (This is all ignoring the question of whether DEH will hold up and have relevance in 20 years -- which is a separate matter.)

Secondly, the notion of you going into a studio and demanding complete creative control and pushing them out of the process, except for them paying for it and distributing it, isn't how it works. You're asking them to put up all the money and have no say in anything -- ie, you want them assume to all the risk and not be involved in the process. Not even Spielberg treats a studio like that. They're your collaborators. You have to work WITH them. They won't work FOR you. So at the end of the day, if you're involving them, they're going to have creative input into what the movie becomes. The only way to avoid working with a studio is to go the independent route -- which you admittedly can't do because the studio owns the IP.

Your best hope is to pray that the project gets stuck in development hell and never gets made. Then you might have a shot at making the movie version you so desire when you're at a point in your career to get a meeting and convince them you're the right person to handle the project. Otherwise, focus your energy on channeling your vision into a live version. Or maybe pray that Universal goes bankrupt or needs money and lets go of their rights to DEH. Then maybe you could snatch it up, but don't hold your breath on that happening.

This totally will end up being like a Love Simon or Fault in Our Stars kinda movie.

But honestly, that's what the show always has been-an emotionally manipulative YA novel with a Tony winning star making performance.

I think it's gonna definitely play too sentimental on film and the story's flaws are gonna be pretty on display.

What Dear Evan Hansen on stage has going for it is being there in those quiet moments of nervousness for Evan.

On film, you're more removed and honestly the story kinda feels Lifetime-ey.

Hoping for Rachel Bay Jones...