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Adaptation.
Alternate Title: Passion
Director: Spike Jonze (Dir)
Release Date:   6 Dec 2002
Premiere Information:   New York premiere: 2 Dec 2002; Los Angeles premiere: 3 Dec 2002
Production Date:   Apr--Oct 2002 at Warner Bros. Studios
Duration (in mins):   112 or 114
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Cast:   Nicolas Cage (Charlie Kaufman)  
    Tilda Swinton (Valerie [Thomas])  
    Meryl Streep (Susan Orlean)  
    Chris Cooper (John Laroche)  
    Jay Tavare (Matthew Osceola)  
    G. Paul Davis (Russell)  
    Roger Willie (Randy)  
    Jim Beaver (Ranger Tony)  
    Nicolas Cage (Donald Kaufman)  
    Cara Seymour (Amelia [Savan])  
    Doug Jones (Augustus Margary)  
    Stephen Tobolowsky (Ranger Steve Neely)  
    Gary Farmer (Buster Baxley)  
    Peter Jason (Defense attorney)  
    Gregory Itzin (Prosecutor)  
    Curtis Hanson (Orlean's husband)  
    Agnes Badoo (Orlean dinner guest)  
    Paul Fortune (Orlean dinner guest)  
    Paul Jasmin (Orlean dinner guest)  
    Lisa Love (Orlean dinner guest)  
    Wendy Mogel (Orlean dinner guest)  
    David O. Russell (Orlean dinner guest)  
    Judy Greer (Alice the waitress)  
    Maggie Gyllenhaal (Caroline)  
    Bob Stephenson (David)  
    Bob Yerkes (Charles Darwin)  
    Lynn Court (Laroche's dad)  
    Roger E. Fanter (Laroche's uncle)  
    Sandra Gimpel (Laroche's mom)  
    Caron Colvett (Laroche's wife)  
    Larry Krask (EMT)  
    Ron Livingston (Marty)  
    Brian Cox (Robert McKee)  
    John Etter (McKee lecture attendee)  
    Ray Berrios (Police officer)  
    Nancy Lenehan (Kaufman's mother)  
    John Malkovich (Himself)  
    Thomas Smith (Himself)  
    Lance Acord (Himself)  
    John Cusack (Himself)  
    Catherine Keener (Herself)  
    Megan Baltimore (Waitress)  

Summary: In contemporary Los Angeles, California, obsessively insecure screenwriter Charlie Kaufman considers himself fat, ugly and loveless. In 1998, after being thrown off the set of Being John Malkovich , even though he wrote the screenplay, Charlie humbly reviews his origins from the earth’s evolution to his birth. Later, at a contemporary Los Angeles café, Charlie meets studio executive Valerie Thomas, who hires him to develop author Susan Orlean’s non-fiction book The Orchid Thief into a screenplay. Charlie anxiously expounds on his belief that the film should mirror the conceit of the book and focus on flowers, rather than degrade into a “Hollywood” formula movie involving guns, car chases and characters learning profound life lessons. In New York, three years prior to this meeting, Susan Orlean writes the first draft of an article for The New Yorker magazine, “The Orchid Thief” which was the basis for her book. Susan describes John Laroche, a brilliant, eccentric and passionate horticulturist who two years earlier worked with Seminole Indians to steal rare orchids from the Fakahatchee State Preserve in Florida. John and three Indians, including Matthew Osceola and Russell, waded through swamps to obtain a “ghost” orchid and numerous other protected plant specimens, then tried to use John’s copious knowledge about related court cases to dissuade a sheriff from arresting them. In contemporary Los Angeles, Charlie returns home to learn that his unemployed twin brother Donald has decided to become a screenwriter. Charlie is offended by Donald’s enthusiastic but formulaic ideas about screenwriting. However, later that night, Charlie’s own attempts to write are foiled by his thoughts about food. Years earlier, Susan is also at work writing about the history of orchid hunters, many of whom died during expeditions. Susan surmises that John is as devoted to the inherent danger of orchid hunting as he is to the flowers themselves. She attends John’s court trial following his encounter in the preserve, after which he accepts her proposal to write an article about him. During her first interview with John in his filthy van, he explains his plan to cultivate the ghost orchid to prevent future poaching. Susan takes notes about his “delusions of grandeur.” In present day Los Angeles, Charlie reads Susan’s book following a failed romance with Amelia Savan, a violinist whom he was too afraid to kiss. His frustration deepens when Donald blithely announces his intention to pitch his screenplay idea the next day. Three years earlier, Susan continues meeting with John. Although she becomes entranced by John’s lofty views about orchids, she belittles him in absentia at a dinner party attended by her husband and several sophisticated friends in New York. However, while writing that night, Susan concedes her longing for a passion as intoxicating as orchid hunting. Charlie also fantasizes about passion as he reads Susan’s book. Donald interrupts one sexual fantasy about a waitress named Alice to discuss the plot of his script. The story, which conflates a murderer, his victim and a policeman into one person, is the kind of crime movie Charlie despises, and he exposes Donald’s flawed logic. Another day, Charlie attends the Santa Barbara Orchid Show alone after Alice evades his clumsy attempt to invite her. There he is inspired by Susan’s book to imagine the elegant orchids as women of all varieties. While Charlie’s insecurity impedes his love life and the Being John Malkovich crew still ignores him, Donald falls in love with Caroline, a make-up artist from the set, and encounters no difficulties in writing his script. Charlie’s struggle finally eases when he is inspired by Charles Darwin’s theories about evolution and adaptation, and interweaves the story of the orchid with John’s and Susan’s narratives. Charlie works feverishly and conceives of opening the film with the evolution of life on earth, to be followed by a scene depicting Susan at work on the book. Susan continues to develop her article around John’s life, and learns what happened nine years earlier when he owned a nursery: John inadvertently causes a car accident, after which he loses his front teeth, his mother and uncle are killed, and his wife spends three weeks in a coma. After her recovery, John’s wife divorces him, and a month later, Hurricane Andrew destroys his nursery. John is then hired to work at the Seminole nursery and longs to create “something amazing” for them. Susan uses John’s sentiment as the subtitle for her 1996 article. Soon after its publication, Valerie buys the film rights to Susan’s unfinished book. Writer’s block continues to plague Charlie, who is pressured by his agent, Marty Bowen, to meet Valerie’s deadline. Although he is inspired anew by Susan’s photograph, his insecurity and self-loathing spur him to refuse Valerie’s offer to introduce him to Susan, and he decides to write himself into his screenplay. When Charlie finally resolves to go to New York to meet Susan, Donald advises him to attend his screen writing mentor Robert McKee’s seminar. While he is on the plane, the closing lines of Susan’s book reveal that when John took her into the swamp to find a ghost orchid, they got lost and she never saw the flower. Although Charlie reaches The New Yorker office, he is too paralyzed by fear even to speak to Susan when she coincidentally boards the elevator with him. In his hotel room that night, Charlie explodes in anger following a telephone call during which Marty praises Donald’s screenplay, and suggests that Charlie seek writing advice from his brother. Terrified by impending failure, Charlie forces himself to attend McKee’s seminar, which he previously disparaged as formulaic. McKee publicly berates Charlie after he admits that he has written a script in which nothing happens. Afterward, McKee privately encourages Charlie to revise his script with characters who experience change and an ending that “wows” the audience. When McKee discovers that Donald and Charlie are brothers, he reminds Charlie that Casablanca ’s brilliant screenplay was written by brothers Julius and Philip Epstein. Inspired, Charlie invites Donald to New York to help him with his script. After impersonating Charlie and meeting with Susan, Donald becomes convinced that she had an affair with John. His suspicions are confirmed when he visits John’s new pornographic website and sees a nude picture of Susan. That night, Charlie and Donald use binoculars to spy on Susan, and learn that she has booked a flight to Florida. Unaware of the brothers’ espionage, Susan lies in bed and reflects that she lied to her husband as well as to the readers of her book, about how she was changed three years earlier: During her visit to the swamp, Susan does see a ghost orchid, and is unmoved. John sends her some of the drug extracted from the orchid, which will give Susan the passion she is seeking, admitting that he is cultivating the flower because it can be used to create a ceremonial drug prized by the Seminoles. Susan becomes addicted and she and John become lovers. In the present, Donald and Charlie follow Susan to Miami. At night while Donald waits in the car, Charlie peers through the window of John’s house and sees him and Susan making love and inhaling the orchid drug. When John catches Charlie and Susan recognizes him, she decides to kill him in order to avoid being exposed. John opposes the idea, but follows them in his van to the swamp. Donald, who has been hiding in the car’s back seat, prevents Susan from shooting Charlie by opening the back door and knocking her down. As the brothers hide in the swamp, while John and Susan search for them in vain, Charlie gains a new appreciation of his brother. The next morning, when the brothers try to slip away, John shoots and wounds Donald. He and Charlie escape in their car but are hit by a ranger’s truck. The impact propels Donald through the windshield to his death, but Charlie is saved by the driver’s side airbag. Susan and John then chase Charlie back into the swamp, where John is mauled to death by an alligator before he can fire at Charlie. Susan spits insults at Charlie that expose his worst fears about himself, while cradling her dead lover in her arms. After police arrive on the scene, Charlie calls his mother with the tragic news. He returns to Los Angeles and incorporates the Florida events into his script, including the guns, car chases and characters learning profound life lessons. Charlie later meets Amelia for coffee, and finally admits his love for her. Although she reminds him that she is involved with someone else, Amelia returns his affection, then leaves. Charlie decides to end the script with this encounter with Amelia, which has filled him with hope, and he exits the parking garage onto Sunset Boulevard. The flowers in a planter on the street open and close with the passing days and nights. 

Production Company: Magnet/Clinica Estetico Productions  
   
Distribution Company: Columbia Pictures Industries, Inc. (A Sony Pictures Entertainment Company)
  Intermedia Films  
Director: Spike Jonze (Dir)
  Thomas Patrick Smith (1st asst dir)
  Brian O'Kelley (2d asst dir)
  Gregory J. Smith (2d 2d asst dir)
  Dan Bradley (2d unit dir)
  Nick Satriano (2d unit, 1st asst dir)
  Dave Riebel (2d unit, 2d asst dir)
  Matthew D. Smith (2d unit, 2d asst dir)
Producer: Edward Saxon (Prod)
  Vincent Landay (Prod)
  Jonathan Demme (Prod)
  Charlie Kaufman (Exec prod)
  Peter Saraf (Exec prod)
Writer: Charlie Kaufman (Scr)
  Donald Kaufman (Scr)
Photography: Lance Acord (Dir of photog)
  James Fealy (2d unit, dir of photog)
  Thomas H. Lohmann (Cam op)
  Mark H. Williams (1st asst cam)
  Jamie Felz (1st asst cam)
  Nina Chien (2d asst cam)
  Paul Taylor (Steadicam op)
  Matthew W. Williams (Cam loader)
  Joseph Stevenson (Motion control op)
  Hans Michael Pickel (Video assist)
  Mike Adler (Chief lighting tech)
  Chris Weigand (Asst chief lighting tech)
  Gino Nix (Key grip)
  Joseph Messier (2d unit, key grip)
  Ric Griffith (2d grip)
  Zoli Hajdu (Dolly grip)
  Danny M. Anderson (Dolly grip)
  Ben Kaller (Still photog)
  Jim Frohna (2d unit, gaffer)
Art Direction: KK Barrett (Prod des)
  Peter Andrus (Art dir)
  Patricia McNulty (Art dept coord)
Film Editor: Eric Zumbrunnen (Ed)
  Larry Law (Addl ed)
  Eric Osmond (1st asst ed)
  Nathan FitzGerald (Asst ed)
  Mary Nelson-Fraser & Associates (Negative cutter)
Set Decoration: Gene Serdena (Set dec)
  Chris Forster (Const coord)
  Anders Rundblad (Const foreman)
  Michael Leblovic (Lead painter)
  David Steiner (Paint foreman)
  Robert Davis (Labor foreman)
  Porfirio Silva (Lead greens)
  Jess Anscott (Standby greens)
  Lynn Christopher (Set des)
  Peter R. Davidson (Set des)
  Grant D. Samson (Leadman)
  Jamie Fleming (Swing gang)
  Bobby Pollard (Swing gang)
  Christian Kastner (On-set dresser)
  Jeffrey Paul Johnson (Prop master)
  Christopher Vail (Asst prop master)
Costumes: Casey Storm (Cost des)
  Ann Roth (Ms. Streep's clothing des by)
  Stacy M. Horn (Ward supv)
  Shari Gray (Ward supv)
  Anita Brown (Cost)
  Deborah Travis (Cost)
Music: Carter Burwell (Mus)
  Adam Milo Smalley (Mus ed)
  Bryan Lawson (Asst mus ed)
  Michael Farrow (Score mixer)
  Astralwerks (Soundtrack on)
Sound: Drew Kunin (Prod mixer)
  Lawrence L. Commans (Boom op)
  Mark W. Fay (Boom op)
  Richard Beggs (Sd des)
  Michael Kirchberger (Supv sd ed)
  Jeremy Molod (Asst sd ed)
  Julia Shirar (Asst sd ed)
  Everett Moore (Apprentice sd ed)
  David A. Cohen (Dial ed)
  David Bergad (Dial ed)
  Peter Staubli (Sd eff ed)
  David Bach (ADR ed)
  Bill Storkson (Foley supv)
  Marnie Moore (Foley artist)
  Nick Peck (Foley mixer)
  Jory Prum (Foley rec)
  Lora Hirschberg (Re-rec mixer)
  Kent Sparling (Re-rec mixer)
  Skywalker Sound (Re-rec services by)
  The Reel Team (Loop group)
Special Effects: Gray Marshall (Visual eff supv)
  Gary D'Amico (Spec eff)
  Rods and Cones (Digital opticals)
  Riot Pictures (Scanning and rec by)
  Gray Matter FX (Visual eff)
  Margaux Mackay (Visual Matter FX, supv prod)
  Albert Mason (Gray Matter FX, digital prod)
  Christine Petrov (Gray Matter FX, compositor)
  Dan Trezise (Gray Matter FX, compositor)
  David Crawford (Gray Matter FX, compositor)
  Michael Maloney (Gray Matter FX, compositor)
  Linda Henry (Gray Matter FX, compositor)
  Kristin Johnson (Gray Matter FX, compositor)
  George Rowles (Gray Matter FX, rotoscope artist)
  Paul Graff (Gray Matter FX, 2D artist)
  Beau Cameron (Gray Matter FX, bee seq CG character animator)
  Kent Lidke (Gray Matter FX, bee seq lighting digital artist)
  Joan Kim (Gray Matter FX, bee seq compositor)
  Eric Jordan (Gray Matter FX, systems admin)
  Anzhey Barantsevich (Gray Matter FX, accountant)
  Digital Domain (Evolution seq by)
  Leslie Ekker (Digital Domain [crew])
  John Allardice (Digital Domain [crew])
  Richard Bjorlin (Digital Domain [crew])
  Cris Blyth (Digital Domain [crew])
  Shannan Burkley (Digital Domain [crew])
  Jodi Campanaro (Digital Domain [crew])
  Jean-Marc Demmer (Digital Domain [crew])
  Sean Devereaux (Digital Domain [crew])
  Nikos Kalaitzidis (Digital Domain [crew])
  Julien Meesters (Digital Domain [crew])
  Eileen O'Connor (Digital Domain [crew])
  Randy Sharp (Digital Domain [crew])
  Greg Teegarden (Digital Domain [crew])
  Ed Ulbrich (Digital Domain [crew])
  Vernon R. Wilbert Jr. (Digital Domain [crew])
  Geoff McFetridge (Title des)
  Pacific Title (Titles by)
Make Up: Joel Harlow (Makeup dept head)
  Lynn Barber (Makeup)
  Isabel Harkins (Makeup)
  Allen Weisinger (Makeup)
  J. Roy Helland (Makeup and hair for Ms. Streep)
  Roz Music (Hair dept head)
  Joseph Coscia (Hairstylist)
  Larry Waggoner (Hairstylist)
  Kevin Yagher (Prosthetic makeup for Mr. Cage)
  Artist's Asylum (Spec makeup eff by)
  Tony Gardner (Artist's Asylum, makeup eff des)
  Scott Malchus (Artist's Asylum, makeup eff prod)
  Jessica Huebner (Artist's Asylum, project mgr)
  David Smith (Artist's Asylum, lead artist)
  Lilo Tauvao (Artist's Asylum, eff artist)
  Vance Hartwell (Artist's Asylum, eff artist)
  Paul Barnes (Artist's Asylum, lead mold-maker)
  Paul Salamoff (Artist's Asylum, eff tech)
Production Misc: Justine Baddeley (Casting)
  Kim Davis-Wagner (Casting)
  Cate Engel (Casting assoc)
  Rich King (Extras casting)
  Kelly Hunt (Extras casting)
  Conor McCullagh (Alligator puppeteer)
  Karen Koch (Unit prod mgr)
  Chiemi Karasawa (Scr supv)
  Rick Schuler (Loc mgr)
  Kent James Stewart Barber (Loc mgr)
  Carson Turner (Asst loc mgr)
  Andrew J. Sacks (Prod supv)
  Rick C. Taplin (Prod coordinator)
  Andrew Hayes (Asst prod coordinator)
  Andrew Ortner (Prod secy)
  Seve Spracklen (Prod accountant)
  Jonilyn Bissett (Asst prod accountant)
  Michelle Madden (Researcher)
  Krista Parris (Prod assoc)
  Emma Wilcockson (Prod assoc)
  Howard Shur (Asst to Spike & Vincenzo)
  Jennifer Porst (Asst to Spike & Vincenzo)
  Stephen Bures (Asst to Mr. Cage)
  Emily Sklar (Asst to Ms. Streep)
  Gary Bevans (Prod asst)
  Nathan Oliver (Prod asst)
  Krista Martin (Prod asst)
  Andy Lucskay (Prod asst)
  Joseph Patridge (Prod asst)
  Janette Kim (Prod asst)
  Michael G. Maurer (Prod asst)
  Cate Engel (Casting assoc)
  Rich King (Extras casting)
  Kelly Hunt (Extras casting)
  Hanna Brothers Catering (Caterer)
  Kevin Pickett (Craft service)
  Michael R. Berry (Medic)
  Bondelli Precision Driving Team (Precision driving)
  Griff Ruggles (Transportation captain)
  Robby Stinton (Transportation co-captain)
  Maria K. Chavez (2d unit, prod supv)
  Shoshana Horowitz (2d unit, prod supv)
Stand In: Marco Kyris (Stand-in for Mr. Cage)
  Julie Janney (Stand-in for Ms. Streep)
  Jonathan Paley (Stand-in for Mr. Cooper)
  Harris Mann (Kaufman twin)
  Marc Coppola (Kaufman twin)
  Dan Bradley (Stunt coord)
  Scott Rogers (Stunts)
  Rick Barker (Stunts)
  Chris Carnel (Stunts)
  Lane Leavitt (Stunts)
  Darren Prescott (Stunts)
  Eddie Yansick (Stunts)
Color Personnel: Bob Fredrickson (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music:
Songs: "One Part Lullaby," written by John Davis, Lou Barlow and Wally Gagel, published by Careers-BMG Music Publishing, Inc. o/b/o itself, Endless Soft Hits, Loobiecore and Blisswg Productions, performed by The Folk Implosion, courtesy of Interscope Records, under license from Universal Music Enterprises; "Dead Melodies," written by Beck Hansen, published by BMG Songs, Inc. o/b/o itself and Cyanide Breathmint, performed by Beck, courtesy of Geffen Records, under license from Universal Music Enterprises; "Wild Horses," written by Mick Jagger and Keith Richards, published by ABKCO Music, Inc., performed by The Rolling Stones, by arrangement with ABKCO Records; "The Cat Came Back," written by Henry S. Miller; "Alison," written and performed by Elvis Costello, published by BMG Songs, Inc. o/b/o BMG Music Publishing Ltd., courtesy of Rhino Entertainment Company/Elvis Costello Music, by arrangement with Warner Special Products and courtesy of Elvis Costello Ltd., under license from Demon Music Group Ltd.; "Happy Together," written by Garry Bonner and Alan Gordon, published by Alley Music Corporation and Trio Music Company, Inc., performed by The Turtles, courtesy of Flo & Eddie, Inc.
Composer: Lou Barlow
  Garry Bonner
  Elvis Costello
  John Davis
  Wally Gagel
  Alan Gordon
  Beck Hansen
  Mick Jagger
  Henry S. Miller
  Keith Richards
Source Text: Inspired by the book The Orchid Thief by Susan Orlean (New York, 1998).
Authors: Susan Orlean

Copyright Claimant Copyright Date Copyright Number
Columbia Pictures Industries, Inc. 15/1/2003 dd/mm/yyyy PA0001060737

PCA NO: 38094
Physical Properties: col: FotoKem
  Sd: Dolby Digital), SDDS Sony Dynamic Digital Sound; dts Digital Sound in selected theatres
  Lenses/Prints: Filmed with Panavision cameras & lenses; Prints by DeLuxe
  gauge: 35mm

 
Genre: Comedy-drama
Sub-Genre: with songs
 
Subjects (Major): Authors
  Brothers
  Horticulturalists
  Motion picture screenwriters
  Obsession
  Orchids
  Twins
 
Subjects (Minor): Alligators
  William Arnold
  Attempted murder
  Automobile accidents
  Bees and wasps
  Being John Malkovich (Film)
  Charles Darwin
  Death by animals
  Drugs
  Evolution
  Fakahatchee Strand Preserve State Park (FL)
  Flower shows
  Impersonation and imposture
  Los Angeles (CA)
  Love affairs
  Augustus Margary
  Masturbation
  Miami (FL)
  Motion picture crews
  New York City
  The New Yorker (Magazine)
  Nurseries (Horticulture)
  Parties
  Pornography and pornographers
  Santa Barbara (CA)
  Seminole Indians
  Swamps
  Trials
  Waitresses

Note: According to copyright records, the working title of the film was Passion . Adaptation [listed as Adaptation. on the film’s title card] features intermittent voice-over narration by Nicolas Cage and Meryl Streep as their respective characters. The narrative timeline of the film is inconsistent, and it is unclear if some scenes were intended to appear as occurring in 1998 or later. End credits include a number of names and companies under “Special Thanks,” including Descanso Gardens, The New Yorker , Seminole Tribe of Florida and Santa Barbara International Orchid Show. Actors John Cusack, Catherine Keener and John Malkovich, who appeared in the film as themselves, also received special thanks but no official cast credit.
       The closing credits also feature the following quotation from the fictional screenplay The Three , written by Charlie Kaufman’s fictional brother, Donald: “We’re all one thing, Lieutenant. That’s what I’ve come to realize. Like cells in a body. ‘Cept we can’t see the body. The way fish can’t see the ocean. And so we envy each other. Hurt each other. Hate each other. How silly is that? A heart cell hating a lung cell.” These lines are attributed to a character named “Cassie.” After this quotation, the credits conclude with the following dedication: “In Loving Memory of Donald Kaufman.”
       Real life author Susan Orlean’s article “The Orchid Thief,” on which her book was based, was first published in the 23 Jan 1996 issue of the New Yorker magazine. As credited onscreen, Adaptation is based on Orlean’s book, as well as screenwriter Charlie Kaufman’s real-life attempt to develop Orlean’s book into a screenplay. Kaufman suffered “writer’s block” during this process and incorporated this writing experience, as well as fictional elements, into the script of Adaptation . Kaufman created the character of a twin brother and co-screenwriter named Donald Kaufman, also played by Cage. The actor used prosthetics and gained weight to alter his appearance for his role as the twins. The fictional sibling receives onscreen credit as the screenplay’s co-writer.
       In addition to fictional characters, contemporary persons portrayed by actors include Orlean, Orlean’s husband, John Gillespie, Jr., horticulturalist John Laroche, Columbia Pictures executive Valerie Thomas, Kaufman’s agent Marty Bowen and screenwriter-teacher Robert McKee, as well as numerous others. In addition, cinematographer Lance Acord and first assistant director Thomas Smith from the 1999 production Being John Malkovich , which was written by Kaufman, appear as themselves in Adaptation . Sequences that are featured in Adaptation but are not referenced in the plot synopsis above include scenes depicting a bee pollinating an orchid while Laroche describes the philosophical nature of the process, 19th century orchid hunters William Arnold and Augustus Margary meeting their deaths, and 19th century naturalist Charles Darwin writing about evolution and adaptation. The Margary and Darwin scenes are in black-and-white. In another scene, the name of the film’s second assistant director, Brian O. Kelley, appears on an audio tape box of The Writings of Charles Darwin in Laroche’s truck. It has not been determined if Kelley actually recorded the tape that is heard in the scene.
       A 6 Apr 2000 news item in DV reported that Tom Hanks was considered for a role in Adaptation , and an article in the Nov 2002 issue of Entertainment Weekly noted that Jonathan Demme originally intended to direct this film. As noted in a 10 Nov 1999 news item, Demme’s production company, Clinica Estetico, initially optioned the script for production through Universal Studios. According to a 9 Dec 2002 article in Time , a cameo appearance by Orlean was cut from the final print. As noted in the onscreen credits, Adaptation was shot on location in California, New York and Florida.
       In addition to being selected as one of AFI’s top ten films of 2002, Adaptation won Golden Globe awards for Best Performance by an Actress in a Supporting Role, (Streep) and Best Performance by an Actor in a Supporting Role (Chris Cooper). Additional Golden Globe nominations included Best Motion Picture--Musical or Comedy, Best Performance by an Actor--Musical or Comedy (Cage), Best Director (Spike Jonze) and Best Screenplay (Charlie Kaufman and Donald Kaufman). Cooper won the Best Supporting Actor Academy Award, with Cage receiving an Academy Award nomination for Best Actor, Streep being nominated for Best Supporting Actress and the Kaufmans being nominated for Best Adapted Screenplay. Adaptation also received a BAFTA for Best Adapted Screenplay. Cage was nominated by SAG as Best Lead Actor in a Movie, while Cooper received a Best Supporting Actor in a Movie nomination. The entire cast was nominated by SAG for the Outstanding Performance by a Cast award.
       The film was also received the following awards and nominations: it was honored by the National Board of Review for Supporting Actor (Cooper) and Screenwriter of the Year (Charlie Kaufman, for Adaptation , Confessions of a Dangerous Mind and Human Nature ); The PGA nominated the film for its Darryl F. Zanuck Producer of the Year Award; the New York Film Critics Circle included Adaptation in its list of top ten films of the year and awarded Charlie Kaufman and Donald Kaufman Best Screenplay; the Los Angeles Film Critics Association named Cooper as Best Supporting Actor; the Broadcast Film Critics Association Critics’ Choice Awards nominated Adaptation for Best Picture, Best Supporting Actor (Cooper), Best Supporting Actress (Meryl Streep), Best Writer (Charlie Kaufman); the film placed fifth on The New York Times Ten Best Movies list; the National Society of Film Critics awarded Cooper Best Supporting Actor, Runner-up; and the New York Film Critics Online ranked the film sixth on their list of ten best films of the year, as well as awarding Cooper as Best Supporting Actor, Runner-up; and Kaufman as Winner for Best Screenplay. 

Bibliographic Sources:   Date   Page
Daily Variety   10 Nov 1999.   
Daily Variety   6 Apr 2000.   
Daily Variety   11 Nov 2002.   
Daily Variety   5 Dec 2002.   
Entertainment Weekly   15 Nov 2002   pp. 53-54, 57-58.
Entertainment Weekly   13 Dec 2002.   
Hollywood Reporter   6 Jun 2002.   
Hollywood Reporter   11 Nov 2002.   
Hollywood Reporter   5 Dec 2002.   
Jane   Dec 2002.   
Los Angeles Times   5 Dec 2002.   
Los Angeles Times   6 Dec 2002.   
New York   2 Dec 2002.   
New York Times   6 Dec 2002.   
Newsweek   9 Dec 2002   pp. 82-83.
Time   9 Dec 2002.   
Variety   23 Apr 2001.   
Variety   8 Oct 2001.   

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