Adaptations have been my passion ever since childhood, first manifesting at the end of a graduate seminar on Dante’s The Divine Comedy at Yale University. I was an undergraduate, over my head. I didn’t think I could write papers in Italian (although I’d done just that at the University of Florence the year before), but I had the chutzpah to think I could turn it into a film, with each rung of hell shot on a different platform of the New York subways. Little did I know, I’d left the filter holder out of the Bolex camera when filming in the woods, streaking purgatory with a thick vertical stripe that didn’t even match the tree trunks – although the storyline was still cohesive.
A dozen films later and finally in the Writers Guild, I’ve ...
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