As far as the author of the original novel was concerned, neither the Fantasia designs nor the modifications to the tale were even remotely convincing.
Now that ‘The Neverending Story’ is going to be adapted again , following a battle to license the rights that dates back ten years ago, when Kennedy/Marshall Company and Appian Way Productions (owned by Leonardo DiCaprio) wanted to adapt the picture , it’s time to dust off the first film. The reason for these difficulties in being modified again is due to the fact that Ende detested the 1984 version and forbade any further changes from being done. That is the cause for these difficulties.
As we are all aware, Wolfgang Petersen directed the film adaptation of the book, which was published in 1979. The picture was only partially adapted. Literally halfway: the second half of the book, which was far darker than the first half, was neglected. During this portion of the book, Bastian entered the book in order to save Fantasia, and he gradually forgot his identity as an inhabitant of the reality of his origin.
The picture continued to be little more than a simple children’s adventure, and Ende was not pleased in the least with the production’s concepts and sets. A number of reasons include the fact that the book, which had already achieved the status of a best-seller (it had sold one million copies in Germany and had been translated into 27 different languages at the time), was licensed at that time for only fifty thousand dollars.
This is where the conflicts between two opposing ideas began: Ende did not want to accept that the book should be reduced to fit into a two-hour film. Petersen, on the other hand, proposed that Ende and Petersen should have co-written the script. In an oral history that was published by Entertainment Weekly, Petersen stated that “the story was sacred to him (…).” In spite of our best efforts to collaborate with him on the script, it was challenging to make any adjustments. When I needed to make a cut in something, he was unable to comprehend it. From a technical standpoint, there were a lot of things that we were unable to achieve at that time. Or perhaps things would be different today.”
After everything was said and done, the dispute was insurmountable: “I wrote the final version of the script together with Herman Weigel and not with him.” We sent it to him, and he couldn’t stand by it. The message that we conveyed to him was that we did not care and that we intended to shoot about that.
After some time had passed, “If my memory serves me correctly, he became so enraged that he wanted to take us to court.” Although he desired to take the movie to court in order to stop it, he was obviously unable to do so. It is impossible to watch a movie adaptation of a book and believe that there will be no adaptations made to the story. Ende did not get the opportunity to view the completed script until five days prior to the production’s premiere.
And, of course, the meaning of the work is entirely undermined when Bastian is prevented from sacrificing a portion of himself in order to reconstruct Fantasia. “They changed the entire meaning of the story,” Ende remarked. “They changed everything.” The reemergence of Fantasia occurs without Bastian’s creative influence. In my opinion, that was the most important aspect of the book.
The end result was that Ende voiced his disapproval of the movie from the very beginning. ‘The Neverending Story’ was described by him as “a repulsive movie,” and he filed a lawsuit against the production firm in an effort to have his name removed from the credits. According to what he said, “those responsible for the film demonstrated a complete lack of comprehension regarding the book.” They had no other concern but financial gain.
Without a shadow of a doubt, the video that you have above these words contains the most well-known avalanche of insults that Ende has ever shouted in reference to the movie. “What there is of Fantasia in the film hardly exceeds the level of a regular nightclub,” he says in it. “Nothing about Fantasia is truly remarkable.” The only thing that is missing from the interior of the Ivory Tower is a group of go-gos and a mirror ball that is suspended from the ceiling. Additionally, he confronts the sphinxes, which he characterizes as “a kind of strippers with big tits in the middle of the desert.” He also takes on the sphinxes.
There will inevitably be a dispute between the imaginative work of Ende and this “full-blown kitsch orgy,” as he describes it in the movie. Despite the fact that there are concerns regarding the production (unless it is a series, it is still just as impossible as it was in the eighties to cover the complete length of the original work), readers of the novel have the hope, albeit with some caution, that this time around the adaptation is considerably more consistent. Fiction is deserving of it.
Now that ‘The Neverending Story’ is going to be adapted once more, or after a war to license the rights that has been going on for 10 years, when the Kennedy/Marshall Company and Appian Way Productions (which is controlled by Leonardo DiCaprio) wanted to adapt the picture, it is time to dust off the first film. The origin of these challenges in terms of readjusting to the new environment They are based on the fact that Ende detested the versions that were released in 1984 and forbade any additional modifications from being published.
As we are all aware, Wolfgang Petersen directed the film adaptation of the book, which was published in 1979. The picture was only partially adapted. Literally halfway: the second half of the book, which was far darker than the first half, was neglected. During this portion of the book, Bastian entered the book in order to save Fantasia, and he gradually forgot his identity as an inhabitant of the reality of his origin.
The picture continued to be little more than a simple children’s adventure, and Ende was not pleased in the least with the production’s concepts and sets. A number of reasons include the fact that the book, which had already achieved the status of a best-seller (it had sold one million copies in Germany and had been translated into 27 different languages at the time), was licensed at that time for only fifty thousand dollars.
In the beginning, Ende was supposed to jointly write the script with Petersen, and it was at that point that the discrepancies between the two opposing visions began: When Ende was told that the novel needed to be shortened in order to fit into a two-hour movie, he refused to accept the fact. For example, Petersen stated in an oral history that was published in Entertainment Weekly that “the story was sacred to him (…).”
During the time that I was attempting to collaborate with him on the script, it was challenging to make any adjustments. If there was something that I needed to cut, he could not comprehend it. There were a lot of things that, from a technological standpoint, we were unable to achieve at that time. Or perhaps things would be different today.”
After everything was said and done, the dispute was insurmountable: “I wrote the final version of the script together with Herman Weigel and not with him.” We sent it to him, and he couldn’t stand by it. We informed him that we were going to shoot him and that we didn’t care about the situation. After some time had passed, “He became so enraged that he desired to take us to court,” if my memory serves me well.
Although he desired to take the movie to court in order to stop it, he was obviously unable to do so. It is impossible to watch a movie adaptation of a book and believe that there will be no adaptations made to the story. Ende did not get the opportunity to view the completed script until five days prior to the production’s premiere.
Although Petersen’s film had a generous budget of 25 million dollars, which was the highest budget in the history of German cinema, it lacked all of the brilliance and overflowing imagination of the original film, and scenes that were as exciting as the one at the door of the sphinxes were extremely trivialized. It is not surprising that Ende was not satisfied with the film. With the probable exception of Rockeater, the most of the people that live in Fantasia have designs that are extremely devoid of inspiration.
And, of course, the meaning of the work is entirely undermined when Bastian is prevented from sacrificing a portion of himself in order to reconstruct Fantasia. “They changed the entire meaning of the story,” Ende remarked. “They changed everything.” However, Bastian’s creative force is absent from Fantasia’s reappearance. In my opinion, that was the most important aspect of the book. The end result was that Ende voiced his disapproval of the movie from the very beginning. “The Neverending Story” was described by him as “a repulsive movie,” and he filed a lawsuit against the production firm in an effort to have his name removed from the credits. “Those responsible for the film did not understand anything about the book,” he added. “They were completely dumbfounded.” They had no other concern but financial gain.
Without a shadow of a doubt, the video that you have above these words contains the most well-known avalanche of insults that Ende has ever shouted in reference to the movie. “Whatever there is of Fantasy in the movie barely rises above the level of a regular nightclub,” he adds in it. “The movie is pretty much unremarkable.” The only thing that is missing from the interior of the Ivory Tower is a group of go-gos and a ball of mirrors that is suspended from the ceiling. The sphinxes, which he refers to as “a kind of strippers with big tits in the middle of the desert,” are another target of his assaults.
A contradiction that is unavoidable between the imaginative work of Ende and this “full-blown kitsch orgy,” as he describes it in the video on his website. Despite the fact that there are concerns regarding the production (unless it is a series, it is still just as impossible as it was in the eighties to cover the complete length of the original work), readers of the novel have the hope, albeit with some caution, that this time around the adaptation is considerably more consistent. Fiction is deserving of it.
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