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People in Film | Joe Wright
Posted March 09, 2011 to photo album "People in Film | Joe Wright"
Hanna’s director may have grown up in a puppet theater, but with each film, he proves that all the world’s a stage, he’s the puppet master.
Joe Wright | Making Images of Words
As Wright was finishing Pride and Prejudice, Tim Bevan offered him a look at Atonement, based on the novel by Ewan McEwan. It wasn’t something that Wright had been thinking about; in fact, he was a bit worried about the old axiom: “Great books make bad films and bad books make great films.” “I had that paranoia running around the back of my mind, “Wright recounted to IndieLondon. “But the problem is that I don’t have much choice. When a piece of material gets its claws into me, I’m at its mercy. However much I try and talk myself out of doing something I can’t really help but do it. So that’s how it was with Ian McEwan’s spectacular novel. It just got under my skin and all those kind of concerns had to be dealt with.” And Wright’s interpretation was uniformly applauded for the powerful way it brought McEwan’s novel to the screen. Many, like Los Angeles Times’ Kenneth Turan, who wrote, “one of the few adaptations that gives a splendid novel (written by Ian McEwan) the film it deserves,” held Atonement up as a paragon of what cinematic adaptation should do. And others agreed nominating it for seven Oscars, including best Picture. With The Soloist, Wright brought a real life story to the screen. And while Hanna is itself not an adaptation, its dense and imaginative landscape often feels as if it there is a treasured book somewhere inside it.