I want to utilise the methods used by Ross and director Bill Pohland to showcase the character's inner headspace for five key scenes in the play. Soundscapes are being created by Guy Pollock and myself, and will be heard through the four speakers situated in the performance room during those same key scenes.

The story was written when I was fourteen, and intended as a novel. It was inspired heavily by the films Baby Driver (2017), Gregory's Girl (1980) and The Breakfast Club (1985). Baby Driver, for it's slick, music-driven plotline where songs indicate what's happening onscreen. Gregory's Girl for it's comedic, Glaswegian-based romance and humour. And The Breakfast Club, for it's dramatic approach to teenage angst and high school setting.

One unreleased by Jodorowsky.

One successful by Villeneuve.

First film-adaptation in 1962.

Adapted for the stage sixty years later in 2022.

What's different about each version? What did they change and why was it necessary?

This will be the final task in showcasing the differences between the three mediums of the story's evolution.

This is seminal in adapting pre-existing work, adding to it, and creating a new experience for the audience.

The series' created Kryptonite; Superman's weakness.

"In an effort to give Bud Collyer some time off, a man much in need of a vacation, the writers of the show invented Kryptonite in 1943 in order to make Superman sick. This allowed the voice of Superman to be absent without ruining the regular broadcast schedule."

Lumet on stage plays becoming films;

" I don't have any particular theory on adapting stage works to film. I take them one at a time. I didn't open up Long Day's Journey Into Night (1962) at all, except for that scene on the porch, which was important, given the title. I don't believe in opening it up if you lose tension, lose characterizations, or lose the story. I opened up Deathtrap (1982) very, very little because it would have let the tension out. It's a psychological thing. Confinement can work for you. "

Friedkin began his career in documentary filmmaking and live televised broadcasting, his second feature was an adaptation of the Harold Pinter play The Birthday Party starring Robert Shaw. He followed this up with The Boys in the Band before going onto more successful work like The Exorcist and The French Connection. In 2005, after spending most of the last decade directing operas in Vienna, Friedkin returned to adapt two Tracy Letts plays to the screen; Bug and Killer Joe. The latter would prove to be his final film. He bookended his career with stage adaptations and both times, they were successful and led to critical reevaluation.

Friedkin on film and actors from stage;

"The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels. Wether it's stage or screen, communication is boss."