On 25 October, the BOB – Based-On-Books Forum, unfolding within Sofia’s Cinelibri (running 10 October – 3 November), brought together European Film Academy chairman, writer and producer Mike Downey, producer and director Rudolf Biermann and actress Tonia Sotiropoulou to explore the delicate art of adapting literary works for the screen. Entitled The Adaptation Game: Producers & Directors Navigating the Literary Pipeline, the session was moderated by Stanislava Ivy.

(El artículo continúa más abajo - Inf. publicitaria)

Downey began by reflecting on his experience of producing Agnieszka Holland’s Franz [+lee también:
crítica
tráiler
entrevista: Agnieszka Holland
ficha de la película]. While not a direct adaptation of a specific book, the project was rooted in the life and legacy of Kafka himself. Downey explained that even projects with well-known literary figures are fraught with assumptions and misunderstandings. In the case of Franz, he noted, “Everyone thinks they know everything about Kafka, and everyone can tell you what you’re doing wrong.” He described the complexities of moving from script to financing, even with prominent collaborators such as Agnieszka Holland and writer Marek Epstein on board. He observed that while Czech audiences were aware of Kafka’s nationality, their response proved more lukewarm than expected, reflecting the unpredictable nature of literary adaptations and the cultural claims nations stake to famous authors.

Biermann, who has produced films such as The Interpreter [+lee también:
crítica
tráiler
entrevista: Martin Šulík
ficha de la película] and A Prominent Patient, echoed Downey’s point on national ownership of literary figures. Using Kafka as an example, he argued that no author truly belongs to any one country, even if audiences often feel a proprietary connection. He also recounted his recent experience with his first solo directorial effort Once Upon a Time in the East, a film based on books by a Slovak investigative journalist. In this case, fictional characters were clearly inspired by real individuals involved in politics, secret services, and the police force. Biermann described the convoluted process of transforming Arpad Soltezs’ initial six-to-seven-hour script into a 150-minute film, emphasising the tricky task of editing without losing narrative integrity. He noted that painful decisions in this particular case involved saying goodbye to entire scenes and sometimes halving what the actors had prepared, a challenging but necessary part of the process.

Sotiropoulou, who’s starred in films such as Skyfall [+lee también:
crítica
tráiler
making of
ficha de la película] and Berberian Sound Studio [+lee también:
tráiler
ficha de la película], offered an actor’s perspective on adaptation. She explained that creating a literary character for the screen begins with understanding the director’s vision. While directors often act as “puppet masters,” Sotiropoulou emphasised the importance of preparation and internalizing the character’s backstory, going so far as to create one wherever it’s not provided. This can include any aspect of the character’s history, whether birthplace, family history, or first loves. She even prepares playlists of songs related to the character to bring authenticity to her performance. Discussing her experience in producing, she noted that these creative roles allow actors to gain a measure of control and stability, offering a buffer against the uncertainty of casting decisions. “With most of the films that I’m an associate or executive producer on, I don’t act in them,” she said, “but this type of work gives you an extra year of sanity.”

Downey then recalled meeting Jean Genet while working in Paris and after acquiring the rights to one of his works for a play at the Edinburgh Festival. After reviewing Bernard Frechtman’s translation of Haute Surveillance, Genet - via his agent Paule Thevenin - approved a new translation by Downey for the production.

Biermann offered a detailed account of his own entry into the film industry. Initially slated to pursue a career in law under his father’s guidance, he negotiated a path into cinema after completing his legal studies. He also recalled the post-communist transition period in Slovak and Czech cinema, noting that filmmakers previously depended heavily on public television approvals. Over the years, the rise of a domestic audience for Czech and Slovak films has allowed greater creative and financial freedom, enabling international co-productions with German and global partners. Biermann framed his career as a continual effort to navigate and escape bureaucratic limitations, a strategy he considers largely successful. “At the end of the day, I decided to only produce the movies I was set to direct,” he added.

Ivy invited Sotiropoulou to compare her own experience of working across different European film markets. She noted that while European and Greek cinema primarily differ in terms of financial resources, the core of filmmaking - the collaboration, the creative process, and the storytelling - is remarkably consistent. Even where production realities vary, she emphasised, the creative challenges inherent to adaptation are universal.

By the session’s end, it was clear that adapting literature for the screen is less about replicating a story and more about navigating a complex ecosystem of creative, financial and cultural factors. Both seasoned producers like Downey and Biermann and actors-turned-producers like Sotiropoulou underscored the need for flexibility, preparation, and a willingness to embrace risk.