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Post by wastedyuthe on Jul 18, 2006 8:09:59 GMT
Hello everyone. I am new to this site and this is my first post. I have been a fan of WotW since the Spielberg movie, and have bought it on dvd, as well as buying the original H G Wells book, and of course Jeff Wayne's WotW cd, and have also read the online comic. So far I love all versions. I have been thinking out of the book and the cd, which version of the story would be better for the CG film- Carrie and seeing her on the steam boat etc, or the brothers adventures with him helping the ladies and going on the steam boat. The brother idea works because we are shown the invasion from a different perspective for a while, and of course it would be truer to the book. However, Carrie works as a more emotional story arc, as the narrator sees his beloved board the boat and he fails to board it in time, then sees the boat head off towards the tripods!!! That would be more tense, don't you think? Views please. Thanks.
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Post by Thunder Child on Jul 18, 2006 9:49:48 GMT
The brother, period!
Johan, purist pur sang! ;D ;D ;D
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Post by beecus on Jul 18, 2006 11:39:49 GMT
Hi and welcome ;D
I think the brother's story would be best also, you could get the best of both worlds actually...
Follow the brother's story and when he reaches the docks and the Thunderchild battle it could interweave with the Carrie story, but there is obviously more material for the brother's story.
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Post by wastedyuthe on Jul 18, 2006 12:43:48 GMT
"Hi and welcome" - Thank you.
I too would prefer the brother sub-plot, mainly because it would be more faithful to the book, and I like the story on how he protected the two ladies from being robbed, and the mass-exodus. However, I do like the idea of the narrator spotting his missus on the steam boat, then wondering if the steam boat is about to be blown to bits by the martians, before Thunderchild saves the day. Incorporating both wouldn't work, as if the brother sees Carrie on the steam boat, it wouldn't have the same emotional effect.
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Post by beecus on Jul 18, 2006 14:24:25 GMT
My idea was less of the brother seeing her but more of an independant scene.. A quick summary..
We follow the brother through the turmoil at the docks, then cut to a scene of the narrator's wife at the docks being knocked and pushed about, back to the brother we see him board the ferry.. then another cut away to the wife being knocked down and her baggage spilling and her frantically trying to collect her things... back to the brother as he notices the tripods appearing over the buildings.. we see the heat-ray start firing and the look of terror on the narrator's wife's face... then a fade to black....
We fade back into the brother on the ferry and the Thunderchild battle, closing with the ferry making it out to safety...
We never know if Carrie made it or not, not until right at the end when the Narrator and Carrie are reunited (a bit of poetic liscence)
That's how I'd do it if I had the chance ;D
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Post by theredweed on Jul 18, 2006 14:32:33 GMT
Welcome to the site.
I agree the brother is far better, to be honest if its a choice between anything and the book I choose the book. I think Carrie leaving on the boat is poet (being swept away) but I prefer the fact that the brother and the narrators wife have their own experiences and I prefer it that the wife disappears and thats all we know, much better than her leaving on a boat.
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Post by Marcus on Jul 18, 2006 20:57:38 GMT
Actually... my ultimate version would go like so...
The film follows the plot of the book near perfectly, up until the Narrator returns to find his wife missing.
At this point he finds a note saying they have headed to London, to the safety of the Brothers house, and the Narrator heads off in that direction. He reaches London, and goes into the brothers apartment... the Landlady telling him that he's missed them by minutes, and they joined the exodus, heading for the floatila of boats leaving the country.
From this point the Narrators story is the same as the brothers, with the Elphinstones and all, except for the fact that it is the Narrator, NOT the brother who lives them. Once he gets to the sea, he doesn't make it aboard the Ferry, and he DOESN'T see his wife on board, but hopes she is.
After the Thunderchild battle he is caught in the rush of the crowd and knocked unconscience... he wakes up in the soon-to-be-ruined house with the Curate, after the religious man picked him up and brung him to safetly.
The film then continues along the same plot as the novel once again.
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Post by wastedyuthe on Jul 18, 2006 21:08:49 GMT
"The film follows the plot of the book near perfectly, up until the Narrator returns to find his wife missing."
The narrator never finds his wife is missing in the book. He takes her away and then returns home without her, then finds out towards the end of the book that the place where he left her got destroyed, and so presumed her dead until the very end of the book.
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Post by Marcus on Jul 18, 2006 22:13:16 GMT
No, but you understand the basic flow of the plot, right?
I imagine that in my version of the plot (Which is made to more easily fit on film while remaining true to the novel) once he finds out the Martian are mobile (eg during the storm) he returns immediatly to join his wife.
Use your imagine to fill in the gaps in the above.
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Post by wastedyuthe on Jul 18, 2006 22:24:13 GMT
Yes that could work. although I am not sure of the idea of th narrator dropping his wife off somewhere to go back home alone, only to go back to where his wife is again in order to find that she is gone- too much going back and forth. In this respect, they made the right decision in the album to have his wife/partner already away from home.
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Post by Marcus on Jul 18, 2006 22:51:57 GMT
Well, once he drops his wife off, he returns to give the Horse and Cart back, and meets the Artillery man, at which point we would witness a flash back of the battle on Horsell Common, and then cut immediatly to the Narrator, with Artillery man in tow finding that his wife as gone. So, there would be some action and cutting to help it present better.
Also, on an unrelated note, I would make the Artillery man talk about the immunity of the aliens when the Narrator meets up with him for a second time... something along the lines of the London HQ downing a Tripod on its way into the city, and finding the occupant mainly intact, and showing no signs of disease of illness... and how theory has it that the Martians edadicated all disease on their homeworld...
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Post by wastedyuthe on Jul 19, 2006 7:39:58 GMT
Yes that would perhaps work, or at least something along those lines. Blimey Marcus, you've really thought this one through haven't you?
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Post by Marcus on Jul 19, 2006 18:42:23 GMT
Well, I wrote a 150 page script for a War of the Worlds mini series as my A-Level media last year, and before that I'd been thinking of it for a few years, so... yes.
Too much, most likely.
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Post by theredweed on Jul 19, 2006 22:58:01 GMT
I am just so glad there has been no sex scene between the narrator and his biatch in any remake, thought the asylum version had very frontal nudity, so rude
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Post by Marcus on Jul 19, 2006 23:36:13 GMT
-Looks at theredweed..............................................- DAMN! -Goes to edit my script-.
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Post by EvilNerfherder on Jul 20, 2006 0:38:15 GMT
Welcome to the site Wastedyuthe (and please excuse my tardiness... even mods get the odd day or two off here and there ) Using Carrie was an interesting way of simplifying the plot for Jeff's work... and it worked pretty well I think. As someone who loves the book as well as the album, though, having the brother in a future adaption would be favourite for me, but it wouldn't kill me if he wasn't included. I know Jeff is wanting to look much more to the book for his movie though. Unfortunately, he isn't giving much in the way of details away, currently. I have been led to believe, though, that the well-loved characters from the album will be included, even though it will not be a straight 'music video' type of film. But how they will be integrated hasn't been discussed. There are some pretty interesting ideas here!
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Post by wastedyuthe on Jul 20, 2006 9:46:59 GMT
"Welcome to the site Wastedyuthe" Thank you- I do feel very welcome. It's nice to be on a forum where we are not all swearing at each other I think there is a problem with converting the book into a film as it is with the brother, as the brother never really has anything to do with the narrator through the story- the brother is an entirely different story if you will. This may be good for the book, but if the film copied this exactly, it might not work as well in the film media. For films to work, they generally need inter-weaving plot threads- if we are to have the brother in the story, then he should at some point interact with the narrator, or at least have some kind of effect on the narrator's plot thread. Otherwise, viewers new to the story without reading the book first, will be thinking 'great film, but what the hell was the brother in it for? What did he have anything to do with it?' The idea of the brother looking after Carrie while the narrator heads back is a good one, and a good example of what I am trying to say- it is involving the brother in the narrator's story. There is another way of looking at it though, as in the online comic- don't have the brother- just have someone like the curate telling the narrator about events like the exodus and black smoke, and the Thunder Child. This has the advantage of not taking us away from the narrator as much as it would following the brother. The film would and should, after all, concentrate on the narrator for at least the majority of the film (as Spielbergs concentrates on Ray). The downside to this is that with scenes like the Thunder Child, if they are told as flashbacks, we will be taken away from the emotional elements of them. Ideally they should be told as part of the story so we keep the full tense and emotional aspect of each scene. Something to think about
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Post by Killraven on Jul 23, 2006 21:26:26 GMT
Being a CGI film utilising the Jeff Wayne musical, I would assume it would use most if not all the music... which would mean following broadly the same plot threads. You also coudn't realistically have a Jeff Wayne film without including "Forever Autumn", after all this is one of the most memorable songs from the album (and an inspirational choice by Mr Wayne ) However, a bit of clever moving sequences about might achieve a more authentic reading of the book. For example, when the narrator hears that Leatherhead has been destroyed, this could then cut quite reasonably into Forever Autumn? KR
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Post by wastedyuthe on Jul 24, 2006 7:41:29 GMT
Interesting, Killraven. Yes, the song Forever Autumn really should be in the film if the rest of the music will be. And yes, I think it could easily be placed in the film where he hears about Leatherhead at the end of the story. Think about it- it could easily be used as montage music for when he is on his way back home expecting no-one to be there. It would be perfect in fact, and would bring a tear to my eye
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Post by Marcus on Jul 24, 2006 17:08:45 GMT
I would prefer Jeff Wayne concentrate on making a good, solid film... rather than trying to put his music in for the sake of it.
Imagine when you were a toddler... sometimes you just had to admit that the triangle didn't fit in the square hole.
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