HOLLYWOOD (Reuters) – Novelist Gillian Flynn has already had great success in the fiction world with her gritty mysteries that challenge the conventions of the genre and have proved massively popular.
Now, like many successful fiction writers, Flynn has her eye on the lu-crative world of Hollywood.
Her first film adaptation of her most popular novel “Gone Girl” was released in Fall to much success both at the box office and with critics, but now the writer has to prove if further adaptations of her lesser-known books can continue to make movie magic.
The adaptation of “Gone Girl” was directed by David Fincher and stars Ben Affleck and Rosamund Pike as the central screwed-up couple.
The movie has made US$145 million domestically (at press time) during its run in theatres on a budget of $61 million, according to Hollywood money-counter Box Office Mojo.
The film has an 88% Fresh rating on review aggregator Rotten Tomatoes, with critics saying that Fincher’s stylistic direction brought out the best in Pike and Affleck, while Flynn’s involvement was essential to the script.
“Gone Girl” also has a lot of Oscar buzz going in to awards season coming from all angles – acting, screenplay, and direction. Even if it doesn’t take home any Oscars, “Gone Girl” is a big success for Flynn to follow up with future movies adapted from her fiction.
The next planned adaptation from Flynn is for her novel “Dark Places”, which is about a woman who’s still coping with having witnessed and survived the brutal murder of her entire family when she was a child.
The protagonist is forced to confront those memories head-on when a secret group obsessed with playing detective on unsolved crimes comes to her and tries to unravel what happened to her family.
The adaptation is being done by the French director Gilles Paquet-Brenner, who is both directing “Dark Places” and writing the adapted screenplay.
Paquet-Brenner is known for the French thriller “Prettyu Things” star-ring Marion Cotillard as opposed identical twin sisters and the drama “Sarah’s Key”.
The director’s work has been well-received overseas – he’s won awards from the Tokyo International Film Festival and the Deauville Film Festival – but he isn’t a recognisable name in the US like Fincher, so his name won’t be drawing the audience.