From book to film: Ava DuVernay reveals the process of adaptation

Photo Courtesy of Matt Harbicht

“Caste,” the 500-page book that has been adapted into the 2023 award-winning film “Origin,” sat on Ava DuVernay's nightstand for months, unopened, before she read it. The book was a New York Times bestseller and the talk of the town in Hollywood, but DuVernay had trouble starting it. 

After screening “Origin,” the director joined Chapman University students in the Folino Theater on Sept. 16 for a Master Class. Leah Aldridge, a Dodge College of Film and Media Arts professor, led a conversation with DuVernay about her experience adapting this story from the page to the screen.

The book, by Isabel Wilkerson, was published in 2020, and when it hit the shelves, it was all anyone was talking about, DuVernay said. She thought the concept was intriguing and had even given in to the book trends of Hollywood before.

“I've done that a lot of times, read the book that everyone's reading, but they’re not 500 pages, and it's not about caste,” Duvernay said.

After much struggle getting herself to read the book, DuVernay realized its concept aligned with the types of films she tries to make. Its content deals with the complexities of racism worldwide, but the difficulties came when DuVernay decided to adapt it. “Caste” doesn’t include any characters or have a protagonist, so how do you make a movie without those elements?

“As I'm reading the book, I started to hear the author say, ‘I, my, our, mine.’ (I thought) ‘Oh, wow, she's the maker. She’s sprinkled throughout the book. What if I let her tell me the story of the book?’” DuVernay said. “Then I found out her personal story, which is so dynamic, and the loss and grief that she'd experienced.”

Wilkerson gave DuVernay creative freedom when writing about her story. The director said that for two years, she could call Wilkerson with any questions about it. But when the filmmaker sat down to write, she was stumped for some time.

“The writing process is horrible. It's a horrible process for me,” DuVernay said. “I used the card process in terms of mapping out… and now I just take really extensive notes, so I have to beat it out in detail before I can sit down and go. So I take a lot of time to prep on the writing.”

Facing the challenges of the daunting writing process is one thing even a seasoned writer like DuVernay struggles with. One thing she relies on heavily is turning to close friends and collaborators for advice. She recalled a piece of advice J.J. Abrams recommends when she feels stuck. 

“He said, ‘Start strong and end strong. Don't concern yourself with the middle. Just focus on the beginning and the end.’ And that helped,” DuVernay said.

Once the writing process was up and running, DuVernay spoke with colleagues and filmmakers about improving her story. She believes in the power of honest feedback and views it as a way to improve her craft. 

“I always tell people I want hard notes,” said DuVernay. “I know generally what my abilities are. I know that I do some things well, and some things okay and some things not well. I would rather you just sit down and tell me what you see from your expertise.”

DuVernay told the audience that this is her approach when receiving advice from other filmmakers; studio notes are a whole different story. Even though some studio notes might not align with the vision of a film, DuVernay said to still listen “because there might be something good in there.”

Aldrige pointed out the incredible performances in “Origin,” and DuVernay spoke on her very particular casting process. Her choices in casting are all based on trust.

“75% of it is casting. If you take your time, if you're diligent, if you really know what to look for in the audition or in the casting process, you can save yourself a lot of heartache, a lot of challenge,” said DuVernay 

These serious considerations are encouraged by DuVernay to ensure not only the best performances, but also the best culture on set. When it comes to what she does as a director, DuVernay treats every actor and “background actor,” as she calls them, as her best friends.

“I try to make the actors feel safe. I was like, ‘What is it? How do you make them feel safe? Tell me the trick of safe.’ And everyone has their own process, but for me, it is ‘I'm your best friend. I'm gonna be with you,’” DuVernay said.

The Panther spoke with attendees who felt inspired by DuVernay’s creative process and film. Clarke Preston, a sophomore film production major, especially resonated with the way DuVernay said she treats her actors on set.

“I feel like that's something that's not always seen in directing, where the actors feel a little disconnected from the director, and I like how it seems like she has a relationship with them,”  Preston told The Panther. “She said she wants to be their best friend, and I love that. I would love to be an actor on her set and work with her.”

Sophomore writing for film and television major Farrah Bryant said she found the content of the film especially important.

“...I did not know how similar the caste system was to racism,” said Bryant. “It just put a lot of things in perspective and, what to pay attention to, just about like my own place in the world. And I feel like I just learned a lot.”

Bryant admired the ways in which this story was told so differently from most adaptations. By bringing the author’s story to light rather than just the book, she felt more connected.

“It wasn't just like the book coming to life, it was the author's story coming to life, right?,” she said. “We got to see how everything the author experienced also leaned into what she was researching.”

During the Q&A portion of the Master Class, DuVernay was asked how she remains authentic to herself and her vision. Her response was to simply trust your gut.

“There are other things that just hit your gut and you know are wrong, and you have to just really hone your sense of what is right and wrong for your movie,” she said. “It's like your moral compass.” 

Dodge College of Film and Media Arts Master Classes are available to all Chapman students and alumni. Seats are available either on a first-come, first-served basis or by lottery system, depending on the Master Class. Dates, times, upcoming guests and additional information can be found in the lobby of Marion Knott Studios or on the Dodge College Instagram account.