Summer + movies, one of my favourite pairings. Books + film adaptations. Not always so much. But when it works, it’s sublime (Clueless!). And BALL DON’T LIE, based on Matt de la Pena’s critically acclaimed YA debut, works. Adding both raw and beautifully tender layers to the narrative, with unforgettable visuals, an amazing display of on- and off-court skills, and a cohesive, powerful style that just pops — BALL DON’T LIE is great stuff. But what makes it work? How does the transition from page to screen happen? What are the challenges? Writer/Director/Producer Brin Hill (The Ecology of Love, Morning Breath, A Glance Away) and author Matt de la Pena (Ball Don’t Lie, Mexican Whiteboy, We Were Here) collaborated on the screenplay and more for BALL DON’T LIE, and, in this two-part interview, give us a fascinating glimpse into the process.

What were the elements of the story that shouted “film!” to you?

BRIN: Honestly, the first chapter of the book spoke to me. It offered a prose depiction of basketball that was so honest, so raw, and felt so much like the gyms I grew up playing ball in that I instantly connected with the voice. Then I kept reading and sparked to the way the layers were peeled back on Sticky’s story. Then I read some more and found an authentic version of the Santa Monica and Venice, CA that I grew up in… For me, this source material was an opportunity to go home and make an honest film – a film about an LA and a character that normally doesn’t get told. That opportunity absolutely excited me.

MATT: I’m not sure how much of what I was writing even shouted “book!” while I was writing the initial draft. This was my first novel and I was suffering from a serious case of “impostor syndrome.” Who was I to think I could write an entire novel? And a novel that actually sold? Crazy talk. Luckily the obsessive part of me beat out the skeptical part and after about a year I had the makings of an actual book. Of course, it wasn’t until the revision stage that I figure out what the book was actually about.

I’ve always loved visual fiction. Novels driven by scene. My main character, Sticky, is very external. Throughout ninety percent of the novel he is actively NOT internalizing events from his past. He’s a reactionary character. Because of this, much of the character development is driven by what he does as opposed to what he thinks. So that part was easily translated into script form. Also, the basketball scenes were very active. Pick up hoops in Lincoln Rec, as well as the big playoff game in the middle of the book. Early in the process, Brin described what he wanted to do with the basketball scenes, and that really excited me. There’s only so much you can do in fiction. I went to odd figurative language, short choppy sentences, syncopated rhythms. But Grayson brought it all to life in the movie version.

But truth be told, I had no idea this was worthy of adaptation until Brin said he was going to make it happen.

What were some of the immediate challenges and surprises in creating the screenplay?

MATT: The biggest challenge for both of us was the structure of the novel, which is non-linear. The present tense element of the story takes place in just one day. But the novel moves back in time as well. Half of the literal space is dedicated to flashback (which I tell my writing students is a big no-no). As a novelist I wanted to explore all of the foster families that had taken Sticky in only to ultimately give him back. For me, this is what the novel is about first and foremost. In a traditional film we probably would have scrapped the foster system and built up the hoop action. But (thank God!) Brin was also interested in Sticky’s rough background.

The coolest surprise for me was the way we were able to move through time. I love some of the transitions in the film version. I think Brin did an amazing job keeping the audience grounded. And one of the biggest highlights of the film is Brin’s strategy of showing Sticky in front of every single foster house at the end of the film. That’s when it really hits home what a crazy and sad journey Sticky’s been on just to get to present day.

BRIN: One major hurdle was taking a character that is so abused by the system that he spins inside himself and lives in an extremely internal manner. His external reaction occurs pretty much on the court and he becomes a classic active character only when backed into a corner and forced to react. But what would normally be seen as a flaw became quite useful in our story arch because when he does finally take matters into his own hands late in the film, it has an unbelievably wonderful impact on the audience. We gambled on the notion that the ills Sticky’s suffered, the difficult system he endured, and getting to see him overcome some of those woes would allow us to win the audience over and buy some time with a character that kind of lives in a turtle’s shell. I’m always pleasantly surprised and pleased when the audience vocally roots for Sticky in a harrowing scene toward the end of the film.

What remained consistent about your vision for the film, and what had to change?

BRIN: I think the consistencies are in how authentic the basketball is and truthful the depiction of a normally unseen Santa Monica and Venice is. I also feel like Sticky’s overall arch and story is pretty consistent with where we started a few years back.

A lot changed from script to shoot to final film. For one, we had to cut a 3 ½ hour rough cut of the film down to a 1 hour 40 minute film, so a bunch of great scenes that we all loved hit the edit room floor. The one scene that we lost which comes straight to mind is a scene that originally made me believe that this could be a film – the scene is one where a street walker on Lincoln Blvd teaches Sticky how to kiss a woman’s hand. In writing the script, this scene felt like the moment when Sticky begins to realize that he can love again after all the ills bestowed on his character and starts to rethink how to define family. It’s a very important scene to the book. However, in structuring the film, it immediately became expendable.

Those are the lessons learned late in the adaptation process – don’t be too precious with the book – the book is one piece of art and the film should be seen as another piece of art merely trying to tell the same story in a completely new way.

MATT: I think the movie version of Sticky is incredibly true to the book version. We kept some of his monologues and placed them over basketball action. We remained very true to Sticky – which was really important to the story.

The biggest change was probably between Sticky and Anh-thu (his girlfriend). The end of their story is QUITE different. Right Brin? Brin . . . ?

BRIN: Oh… sorry, I was perusing through your new book WE WERE HERE – could be a good film… But, yes, sir. That is quite correct .

BALL DON’T LIE opens in select theatres June 5.

What book-to-film adaptations have you adored/abhorred? What questions do you have about the process? For the trailer and more about BALL DON’T LIE: The Book, The Film, and of course, The Legends, visit them all online. And check back next month for Part Two of the interview, including a fantastic giveaway!

About the Author

Olugbemisola Rhuday-Perkovich is the daughter of a Jamaican mother and Nigerian father, and married to a man of Croatian descent. So, that’s what’s up with the name. She’s worked as a freelance writer and contributing editor at various magazines, and has developed educational materials geared to educators and students. Olugbemisola has worked extensively in youth development, at community organizations and New York City schools. She was twice awarded a public service fellowship by the Echoing Green foundation to work on a creative arts and literacy project with adolescent girls. She received her M.A. in Educational Communication and Technology, with a concentration in Adolescent Literacy and English Education, her B.Sc. from Cornell University, and is a member of the Society of Children’s Book Writers and Illustrators. “I spent a number of my younger years in different communities across the globe. I attended public, private,’international’, and religious schools. These experiences have had lasting benefits as I was exposed to many languages, traditions, customs – new and thrilling worlds. And each move brought with it both an opportunity and a struggle surrounding identity, which is a recurring theme in my work.” She lives in New York City where she is also an enthusiastic if not particularly skilled crafter.  Read more about how to book or contact Olugbemisola Rhuday-Perkovich.

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