David Hare

David Hare has just finished a film for Thames Television called Saigon, about the American presence in Vietnam. His play Dreams of Leaving was recently shown on BBC Television.

Letter
‘Novelists don’t usually care for screen adaptations of their work,’ Blake Morrison claims (LRB, 6 June). They should be so lucky. Films often improve the books on which they’re based. Robert Bloch’s novel Psycho is not generally taken to be better than Hitchcock’s film. Most people don’t know Pierre Boileau’s D’entre les morts, but they do know Vertigo. Orson Welles’s Magnificent...

Show Business

David Hare, 4 September 1980

Michael Pye has now written two books (the first with Lynda Myles) trying to explain how American show business feels to those who make their lives inside it. The first, The Movie Brats, succeeds because it keeps close to the work of the young film-makers with whose careers it’s concerned, but also because they demonstrably exist as a group. Coppola, Milius, Scorsese, De Palma, Lucas and Spielberg do have a great deal in common. Moguls, on the other hand, is one of those unhappy publishing ideas for yanking together random essays on a false subject. Any definition of the word ‘mogul’ that’s going to stretch to include Jules Stein and Trevor Nunn is so loose as to be worthless.

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