These days, Hollywood studios don’t waste much time exploiting their intellectual properties: it seemed that no sooner had Sony finished counting the box office receipts from the last of Sam Raimi’s Spider-Man films, a ‘re-boot’ was announced, taking its most valuable film franchise in a new direction, bringing it too a new generation, or – who knows? – perhaps simply making the suit, and perhaps the story, a shade darker. What Sony hasn’t done is wasted years in ‘development hell,’ figuring that a bird in the hand (a Spider-Man movie in cinemas) is better than two in the bush (another round of draft screenplays). No doubt Warner Bros is already considering how to follow The Dark Knight trilogy when Christopher Nolan and Christian Bale hang up their cowls – but don’t bet on the Bat-franchise languishing too long on the shelf.
This wasn’t always the case, however. Six years passed between Aliens and Alien³, eight between Batman & Robin and Batman Begins – and an unthinkable eighteen fallow years between Superman IV: The Quest for Peace and Superman Returns. So what was going on for all that time? My first book, The Greatest Sci-Fi Movies Never Made, set out what was taking Hollywood so long to bring popular properties such as The Hitch-Hiker’s Guide to the Galaxy, Thunderbirds, Silver Surfer etc. to the big screen – as well as exploring the various approaches to famous franchises (William Gibson’s Alien III, Tim Burton’s Superman, Philip Kaufman’s Star Trek, etc.) which were abandoned en route to the films we know. With my next book, Tales from Development Hell, I chose a variety of projects – a few stillborn, others aborted, one or two with a particularly painful gestation – which aimed to illustrate the kinds of problems which can beset a film, even when some of Hollywood’s heaviest hitters are involved.
Why were Oliver Stone’s and James Cameron’s thrilling takes on the Planet of the Apes property rejected in favour of Tim Burton’s unimaginative “re-imagining”? How come even the combined muscle of Arnold Schwarzenegger and Paul Verhoeven, at the height of their powers, couldn’t get Crusade off the ground? How did Outbreak get a green light when Ridley Scott’s The Hot Zone, set to star Robert Redford and Jodie Foster, did not? How many different directors, from Ridley Scott (again – the man does seem to suffer more than his share of development hell) and Roland Emmerich, have jumped aboard the alien-on-a-train movie ISOBAR? Why have we still not seen a Sandman movie? Where’s the film of Smoke and Mirrors, a script so hot it sparked a feeding frenzy in the early 1990s, and was never heard from again? The answers to all these questions, and more, lie in one or the other circles of development hell. I should know. I wrote the book on it.