27 Kids’ Books That Became Major Movies

From Harry Potter to Paper Towns

The young adult book-to-movie adaptation trend is anything but new. As John Green’s Paper Towns hits theaters Friday, check out some of the best books that went from page to screen.

  • Harry Potter

    harry potter
    Warner Bros.

    The seven Harry Potter books were adapted into eight movies, kicking off the trend of splitting a series’ final book into two films. The final film, Harry Potter and the Deathly Hallows: Part 2, raked in more than $1.3 billion worldwide.

  • The Fault in Our Stars

    A Fault In Our Stars
    James Bridges—20th Century Fox

    John Green’s first book to head to theaters captured audiences with the love story of Augustus and Hazel, two terminally ill teenagers who taught readers and viewers that a short life can still be a good life.

  • Paper Towns

    20th Century Fox

    Green’s second book to be adapted, by the same screenwriters who took Fault to the movies, follows Quentin as he tries to track down Margo Roth Spiegelman, his elusive crush who goes missing after the two spend a night together pranking their high school classmates.

  • The Spectacular Now

    Andrew Lauren Productions

    Tim Tharp’s The Spectacular Now, a 2008 National Book Award Finalist, earned Sundance buzz in 2013 thanks to Shailene Woodley and Miles Teller’s on-screen chemistry and the film’s realistic portrayal of teenage tragedy.

  • The Book Thief

    the book thief
    Jules Heath—20th Century Fox

    Markus Zusak’s 2005 novel of the same name told the story of Liesel Meminger, who witnesses the horrors of the Nazis and learns to read from the Jewish man her foster parents are hiding in their basement.

  • The Hunger Games

    hunger games mockingjay part 2
    Color Force

    Suzanne Collins’ trilogy hit bookshelves in 2008 and catapulted to box office success in 2012 when Jennifer Lawrence took on the role of Katniss Everdeen, who fights against a totalitarian government in a dystopian society.

  • If I Stay

    if i stay
    Doane Gregory—Warner Bros.

    Chloe Grace Moretz starred as Mia in the 2014 adaptation of Gayle Forman’s 2010 novel about a 17-year-old girl who watches herself in a coma after her family is in a fatal car accident.

  • Holes

    Walt Disney Pictures

    Louis Sachar wrote the screenplay for the movie based on his 1998 novel about a young boy named Stanley Yelnats who attends a juvenile detention camp with a secret history.

  • Matilda

    Francois Duhamel—Tristar Pictures Inc.

    Roald Dahl’s 1988 book hit theaters eight years after publication, starring Mara Wilson, Rhea Perlman and Danny DeVito, who also directed and narrated the movie.

  • The Outsiders

    Warner Bros.

    S.E. Hinton’s 1967 novel about Ponyboy Curtis and the gangs of his hometown was published went the author was just 18 years old. The 1983 adaptation starred Rob Lowe, Emilio Estevez, Matt Dillon, Tom Cruise and Patrick Swayze.

  • The Giver

    the giver
    David Bloomer—The Weinstein Company

    Lois Lowry’s 1993 novel is an early example of young adult fiction tackling dystopian themes. Despite being optioned for the screen in 1995, it took five screenplays and nearly 20 years before the 2014 film, starring Meryl Streep, Jeff Bridges and Taylor Swift, finally hit theaters.

  • Little Women

    Columbia Pictures

    Louisa May Alcott’s novel, published in two parts in the 1860s, follows four sisters from childhood to adulthood. It’s been adapted six times total, twice as silent versions. The most recent, out in 1994, starred Winona Ryder, Kirsten Dunst, Susan Sarandon, Christian Bale and Claire Danes.

  • The Hobbit

    New Line Cinema

    J.R.R. Tolkien’s 1937 fantasy novel was adapted as a trilogy, starting in 2012 with An Unexpected Journey. Lord of the Rings director Peter Jackson concluded Bilbo Baggins’ saga with The Desolation of Smaug in 2013 and The Battle of the Five Armies in 2014.

  • The Lord of the Rings

    Lord of The Rings: The Return of The King
    Pierre Vinet—Wingnut Films

    Tolkien’s three-part follow up to The Hobbit was adapted in 2001, 2002 and 2003, with the final film, The Return of the King, winning all of its 11 Academy Award nominations, including Adapted Screenplay and Best Picture.

  • The Wizard of Oz

    the wizard of oz

    L. Frank Baum’s The Wonderful Wizard of Oz was published in 1900 and became wildly popular thanks to the 1939 film adaptation starring Judy Garland as Dorothy. Though it lost out to Gone with the Wind for Best Picture at the Academy Awards, it did win Best Original Song for “Over the Rainbow.”

  • Alice’s Adventures in Wonderland

    Walt Disney Pictures

    The 1865 novel by Lewis Carroll has graced the silver screen more than 10 times, most recently in 2010 when director Tim Burton retold Alice’s story as a 19-year-old who returns to the fantasy land from her childhood to dethrone the Red Queen, played by Helena Bonham Carter.

  • Harriet the Spy

    harriet the spy
    Nickelodeon Movies

    Michelle Trachtenberg starred in the 1996 film adaptation of Louise Fitzhugh’s 1964 novel about an 11-year-old girl whose notebook is stolen by classmates, revealing every honest thought she has about her peers.

  • The Princess Bride

    20th Century Fox

    The 1972 fantasy novel is often forgotten as a book, thanks in part to the eminently quotable 1987 cult classic starring Robin Wright and Mandy Patinkin.

  • Ender’s Game

    Chartoff Productions

    Orson Scott Card served as a producer for the 2013 film based on his 1986 sci-fi book about the gifted Ender Wiggin, a child being trained to fight an alien species.

  • Hugo

    Jaap Buitendijk—GK Films

    Martin Scorsese adapted Brian Selznick’s 2007 illustrated novel into the 2011 Academy Award-winning film Hugo, which starred Asa Butterfield, Chloe Grace Moretz, Sacha Baron Cohen, Ben Kingsley, Jude Law and Richard Griffiths.

  • Divergent

    Jaap Buitendijk—Summit Entertainment

    Veronica Roth’s Divergent trilogy was first published in 2011 and then adapted into an ongoing four-part film series in 2014. Shailene Woodley stars as heroine Tris Prior, who, like other protagonists in similar dystopian novels, fights against an oppressive government.

  • Twilight

    Summit Entertainment

    Stephenie Meyer’s vampire-romance saga was adapted into a series of five films starring Kristen Stewart, Robert Pattinson and Taylor Lautner, grossing more than $3 billion worldwide.

  • Sisterhood of the Traveling Pants

    Warner Bros.

    Ann Brashares’ series about an ordinary pair of pants that magically fits four very different girls was adapted into two films starring Blake Lively, Alexis Bledel, America Ferrera and Amber Tamblyn. The movies also inspired real-life friendships between the actresses, which they’ve documented on social media.

  • The Princess Diaries

    Walt Disney Pictures

    Meg Cabot’s 2000 novel was adapted into a movie in 2001 that was produced by Whitney Houston. The film, which starred Julie Andrews and a young Anne Hathaway, even spawned a sequel.

  • The Perks of Being a Wallflower

    Summit Entertainment

    Stephen Chbosky wrote and directed the 2012 film version of his 1990 book that follows Charlie through his turbulent freshman year of high school. The film starred Emma Watson in one of her first post-Harry Potter leading roles.

TIME Media

How Paramount Might Change the Way You Watch Movies Forever

Getty Images

Paramount is bringing some films to your home quicker than ever before

Early July, Paramount changed things. The change won’t be immediate, nor is it guaranteed that it’ll catch on at all in this particular iteration. But they made a move that, while seemingly just a smart way of dipping a toe into the waters of alternative distribution for non-guaranteed studio projects, is also going to draw a lot of attention. If it doesn’t work, somebody else will find a way to make it happen. If it does, they have the unique opportunity of being at the vanguard of the next wave of modern film distribution and consumption. Whether that’s a good thing or not probably depends on the extent to which you, too, cringed, internally or otherwise, at the word “consumption” being used to describe the viewing of a film.

And for the melodrama of that last paragraph, Paramount’s new gambit completely warrants it. On July 8th, the studio announced that they had reached a deal with AMC Theatres and Canada’s Cineplex Inc. to release the upcoming films Paranormal Activity: The Ghost Dimension and Scout’s Guide to the Zombie Apocalypse on VOD/on-demand home rental services only 50 or so days after their theatrical releases, ensuring that people can continue to text during movies with impunity.

They’re a good pair of initial test subjects: Paranormal Activity has seen diminished returns over its three sequels and one spin-off, and The Ghost Dimension will be hitting theaters nearly two years to the day after its originally announced release date in October 2013. As for Scout’s Guide, it was bumped to the fall from March of this year, after also being renamed from the more succinct Scouts vs. Zombies.

Again, they’re both excellent guinea pigs. Even setting aside the dramatic depreciation that even the most successful genre movies typically experience from week to week, there’s the matter of the threshold for an acceptable box office return being far lower for either film than it would be if, say, Paramount decided to launch this experiment with the next Transformers. (This, at least, would allow that film to shamelessly beam advertisements into your home around a loosely assembled movie with even greater ease.) While other heavy-hitting distributors like Regal and Cinemark weigh the merits of this new model, it’s hard to fault AMC for getting in on the game. After all, times are tough for theaters, no matter how many times people race back out to see Jurassic World orInside Out yet again.

Digression time, and briefly, but 2014’s box office hit a 20-year low. Any number of reasons have been cited for this: the exhaustive parade of mega budget sequels and franchise properties, the decline of the theatrical experience in the smartphone age, the quality of modern movies, the overpriced theaters themselves. Since each of those bullet points arguably deserves its own series of lengthy essays, let’s just focus on that last bit — the theaters. Everybody has their own story (and if you want to leave a comment to this effect, please do), but since CoS is a Chicago-rooted publication, let’s talk numbers in Chicago as they currently stand.

On average, a movie ticket to a local AMC or Regal theatre is $7-13 dollars, depending on the time of day. Concessions, the real cash cow for any big-time theater giving most of the ticket income right back to the studios, will run you $6-8 for a popcorn, $4-6 for a drink, and that’s to say nothing of candy or the bars more and more theaters are installing of late. (More on that later.) So, already the trip is running you an estimable average of at least $20 for yourself. Want that screening in 3D? Add another three or four dollars. Make it another few more if you want it on an “IMAX” screen, most of which are just the “super screens” of yore re-branded and up-charged into oblivion. So, now you’re getting into the $25-30 range. That doesn’t even include parking and assumes it’s just you. Have a family of four? Suddenly you’re spending over $100 for the privilege of watching little, yellow corn men holler nonsense or something to that effect. And broken down that way, it’s not particularly hard to understand why people aren’t going to the movies.

Attendance is always huge for big summer spectacles (unless your film happens to be named Terminator Genisys, anyway), but it’s low-budget fare like Paranormal Activity that stands to benefit most from Paramount’s bold new model. In this way, for at least a while, going to see a film in a theater can be an opening-weekend event for those desirous of such a thing, and for the people who don’t care, or would rather just watch a new movie at home, now they only have to wait a month or so. And theaters have been struggling of late; Disney recently fought with theatrical distributors over Age of Ultron in an attempt to micro-regulate theaters’ abilities to offer discounts, so as to boost overall profits as much as possible. The recent monetary struggles of studio films in their theatrical phase has led to everybody getting chippy on every side, attempting to retain their part of an old structure as the whole thing starts to crumble, and therefore it’s unsurprising that, as one anonymous exec told The Wall Street Journal, Paramount’s gambit is “the edge of the sword.” Sooner or later, somebody was going to at least try it.

It does, however, cast an even longer shadow over the big question nobody really seems to want to answer: How badly do people want, and perhaps more importantly need, to see their movies in a theater? For years, the model has been shifting as streaming services have offered at least the early steps along a new path, one that sends films straight to the consumer and eradicates the middle men, at the cost of sacrificing the communal experience of the theater. Theaters all over the U.S. have been trotting out any number of new devices to attempt to combat this, from the aforementioned “IMAX” theaters to Dolby’s new Atmos sound system to electronic Barcaloungers in screening rooms to bars and restaurants in the theaters themselves. That last bit seems to be the most telling in examining audience preferences and theaters’ attempts to kowtow to them: to rouse themselves from the home, people have to be able to do an entire evening out in one shot. By letting people cut out the trip to the bar or to the restaurant across the parking lot, you cut out the chance that people could call it an early night and head home. Some may call that efficiency and savvy. Others, desperation.

The other massive change suggested by Paramount’s new distribution model, one that seems to have gone relatively unheralded in talk of it, is what this would do for the reputation of the straight-to-home film. Ever since the advent of the VHS in the ‘80s, there’s been a clear line between movies that come out in theaters and movies that don’t. Movies that come out in theaters are events worth lining up for; movies that go straight to home video usually star Dolph Lundgren. In recent years, this has changed, with VOD services allowing filmgoers both casual and serious to choose which films they’ll leave the house for and which are rented. There’s now the movie you go to the theater to see on opening weekend, the one you see after a few weeks when it’s less crowded, the movie you wait to Redbox, and the movie you wait to hopefully order right from your TV. In certain respects, it’s no different than the scenarios offered by the VHS or DVD, but now the timing is changing. Don’t feel like rousing yourself from your comfortable couch in the dead of winter to see a documentary across town? There’s a decent chance it’s already sitting right on your TV.

What’s going to change that reputation isn’t the distribution model, per se, but how it’s used. In a post-Netflix world, the best filmmakers aren’t necessarily working exclusively toward a big theatrical release any longer. Earlier this year Spike Lee released Da Sweet Blood of Jesus exclusively on Vimeo, nearly a month before its limited arthouse rollout.Joe Dirt 2: Beautiful Loser debuted this past week on Crackle, Sony’s VOD service. Adam Sandler, perhaps that first example’s most distinct polar opposite, has signed a multi-film deal with Netflix for his upcoming releases, and the Duplass brothers recently followed suit. For filmmakers either looking for a more lucrative model in a tumultuous, focus group-centric time for studios, or even those like the Duplasses (Duplassi?) who simply prefer to play in a smaller, more controllable sandbox, streaming services like Netflix are already offering a way out of the crowded studio landscape.

To a certain extent, this is a great thing. Independent filmmaking has become its own lucrative beast in the time of the “Sundance hit” being the gold standard, and so even with studios like Fox Searchlight and Focus (at least the Focus of the early aughts, if not the one at present), the ostensible goal is still to manufacture a low-budget smash hit. Independent filmmaking in its rawest sense has largely moved online, because there, the sort of person who’d chase out to their local independent theater can find whatever they want. It’s also eradicated so many of the hurdles that used to accompany a cinephile’s early years if they didn’t live in a major urban center. (Often I lament that I didn’t become obsessed with film in high school when so many would have been at my eager fingertips. But it would’ve come at the expense of learning things like basic human interaction, so that’s probably just as well.) In so many words, streaming services have made it a lot easier for people to fall in love with the cinema, and that’s usually the point. Right?

But every frontier eventually sees a conqueror, and Paramount might be that. Much of the impetus for so many independent films’ recent reliance on VOD is the relative impossibility of getting them into major theaters. Because of chains like AMC and Regal and Cineplex Inc., the same chains hashing out this momentous decision with Paramount, so many American films released in a single calendar year won’t be seen by more than a few thousand people. VOD has offered a way for the dedicated cinephile to escape the exhaustion of going to a 20-screen theater where only a half dozen movies are playing, as they are at every other similar theater in the area at the same time, probably.

For Paramount or any major studio to move into that space, then, is to continue the problem that’s been plaguing theaters for decades now: How does everybody get a place at the table when the latecomers are taking up so much space? The answer, in its numerous iterations so far at least, is that they don’t. The heavy hitters will dominate the conversation, and the rest will clamor for whatever remains. This isn’t to say that no studio should; setting aside the crushing inevitability of it all, there’s also something to be said for the possibilities of studios taking chances on less-proven properties with a lower ceiling for success in place. But wherever there’s a takeover, there’s always a casualty.

If anything, that casualty may well be the theater, long before it’d be the micro-budget movie. And there’s something truly sad about that, about the idea that we could be watching the end of an institution in its dominant time, about how the movie theater might one day be a niche activity on par with the drive-in that some people enjoy, but from which many have moved on. Lest you assume this to be melodrama, ask anybody in your life who isn’t a dedicated film buff how many movies they’ve seen in a theater in the past one, two, five years. In the likely event that number is low, ask them why they stopped going, and you’ll hear all about the prices, the disrespectful patrons, the 20 minutes of trailers, et al.

So many disparate forces have conspired to make the theatrical experience as difficult as possible that we’re all trying to find a new way to watch movies. Selfishly, we can’t help but hope against hope that the old way isn’t beyond saving. The new way, whatever it ends up looking like in its most crystallized form, is all but guaranteed to look a lot more solitary.

This article originally appeared on Consequence of Sound

TIME film

Amy Schumer Talks Writing Trainwreck and Working With Pro Athletes

'It was difficult but also liberating to write a script that personal'

Amy Schumer’s debut film Trainwreck comes out this Friday and is loosely inspired by the comedian-turned-actress’ life before fame and fortune.

In the video above, Schumer talks about what it was like working with director Judd Apatow. Schumer praises Apatow for guiding her through her first movie without stamping it as a “Judd Apatow” film.

“It was a lot of stuff I was learning at the time, that I didn’t know about myself” Schumer said of writing the script.

The comedy also features a few professional athletes, including basketball players LeBron James and Amar’e Stoudemire, and professional wrestler John Cena. Schumer and co-star Bill Hader describe the athletes as effortlessly funny actors. “It wasn’t fair,” they joked.


TIME Amazon

This Is How Much Sales Rose For Amazon On Prime Day

The company said sales surpassed Black Friday

Despite the negative reaction on social media to Amazon’s offerings during the first-ever Prime Day Wednesday to celebrate the retailer’s 20th anniversary, sales apparently soared.

In fact, sales were up 80% in the U.S. and 40% in Europe, according to ChannelAdvisor and CNN Money.

Amazon even boasted that sales yesterday surpassed last year’s Black Friday, although it’s unclear exactly what figure Jeff Bezos’ company scored. It did, however, discuss the number of a few items sold throughout the day: “Prime members have bought tens of thousands of Fire TV Sticks, 35,000 Lord of the Rings Blu-Ray sets, 28,000 Rubbermaid sets, and 4,000 Echos in 15 minutes. The Kate Spade purse was gone in less than a minute. The 1.2K of $999 TVs sold out in less than 10 minutes,” the company said in a statement.

However, Amazon earned a fair amount of criticism for its “Lightning Deals” and the products it chose to discount, CNN reported: “We have years of experience with these types of events and we stagger the deals to make sure the fun will last through tonight,” the company shot back in a statement.

On Wednesday, Amazon announced the upcoming release of its first-ever original film, which will be directed by Spike Lee.

TIME Amazon

Amazon Is Working With Spike Lee For its First Original Movie

2013 Summer TCA Tour - Day 2
Frederick M. Brown—Getty Images Director Spike Lee.

Cast includes Wesley Snipes, Jennifer Hudson, and Samuel L. Jackson

Amazon announced Wednesday that it’ll be creating its first-ever original film.

It will be Spike Lee’s next major movie and has been dubbed Chi-Raq. According to Amazon’s press release, the film features an all-star cast, including Nick Cannon, Wesley Snipes, Jennifer Hudson, and Samuel L. Jackson.

“Chi-Raq will shed light on the serious, but often overlooked issue of violence in inner cityChicago,” Amazon said.

“Spike Lee is one of the most distinct and visionary filmmakers of our time,” said Ted Hope, who heads up Amazon’s motion picture production, in a statement. “It would be impossible to find a better filmmaker with whom to launch our studio.”

“I’m honored to be part of the film that will launch Amazon Studios and to tell a story that is so important,” said Spike Lee in a statement. “Please don’t be fooled by the title of Chi-Raq, this new Spike Lee joint will be something very special. We have assembled a stellar cast.”

Amazon first announced it’d be creating original films in January. The e-commerce giant said at the time that is has plans to produce 12 films a year.

The announcement coincides with Amazon’s first Prime Day in celebration of its 20th anniversary.

TIME movies

Why There Are No Female Minions

Minions creator Pierre Coffin explains why none of his creatures are female

There’s a reason all the heroes in the new Despicable Me spin-off are male.

Minions, which is on track to earn $100 million in its opening weekend, stars a female villain and an all-male cast of yellow, pill-shaped heroes.

It’s unusual for a movie to rely so heavily on a cast of males, but Minions creator Pierre Coffin says it’s thanks to their general cloddishness.

“Seeing how dumb and stupid they often are, I just couldn’t imagine Minions being girls,” Coffin told TheWrap.

The creatures can’t reproduce or divide themselves, Coffin has said — and maybe that’s a good thing.


Read next: This Is How Minions Took Over the World

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TIME movies

Netflix Announces Premiere Dates for Original Films

Netflix Idris Elba stars in Beasts of No Nation

Mark your calendars

Netflix has announced premiere dates for the first four of its upcoming original films, including Cary Fukunaga’s Beasts of No Nation, Adam Sandler’s The Ridiculous Six, and Pee-wee’s Big Holiday.

Beasts is up first, with a worldwide premiere data of Oct. 16. In addition to being available through Netflix, the film will open on the same day in select U.S. theaters. Based on the novel by Nigerian author Uzodinma Iweala, Beasts of No Nation stars Idris Elba as a warlord who takes a child soldier (played by newcomer Abraham Attah) under his wing. Fukunaga wrote and directed the film.

Sandler’s western comedy The Ridiculous Six will premiere only on Netflix on Dec. 11. It’s the first film in Sandler’s four picture deal with Netflix, and stars Sandler, Terry Crews, Taylor Lautner, Jorge Garcia, Luke Wilson, and Nick Nolte. (Ridiculous Six was also a source of controversy earlier this year, after Native American actors hired for the film walked off its set.)

Netflix also pushed back the release date of Crouching Tiger, Hidden Dragon: The Green Legend, the follow-up to the 2000 Oscar-winning martial arts original. Green Legend will be released in Chinese theaters, on IMAX, and globally on Netflix in the first quarter of 2016.

And finally, Paul Reubens will once again don a bowtie for Pee-wee’s Big Holiday, an “epic story of friendship and destiny” that finds Pee-wee taking his first-ever vacation after a “fateful meeting with a mysterious stranger.” You can watch Pee-Wee’s Big Holiday exclusively on Netflix in March 2016. Be sure and tell ‘em Large Marge sent you.

This article originally appeared on EW.com

TIME Steve Jobs

Here’s the Trailer For The Upcoming Steve Jobs Movie

Apple Unveils New Software For iPhone And iPad
Justin Sullivan—Getty Images Steve Jobs

It stars Michael Fassbender and Kate Winslet

A full trailer for the upcoming biopic of Steve Jobs, the late founder of Apple [fortune-stock symbol=”AAPL”], has just been released.

The trailer, which is two-and-a-half-minutes long, is the first extended look at the movie, which is based on the biography of Jobs written by Walter Isaacson.

Danny Boyle, who won an Academy Award for Slumdog Millionaire in 2008, directed the movie. It stars Michael Fassbender as Jobs, along with Seth Rogen, Jeff Daniels, and Kate Winslet.

According to the film’s official website: “Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, Steve Jobs takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter.”

The movie is due in theaters on Oct. 9.

You can watch the full trailer here:

TIME movies

Top Gun Sequel Will Feature Tom Cruise Versus Drones

Top Gun
Paramount Pictures Tom Cruise in 'Top Gun,' 1986.

The movie will explore "the end of an era of dogfighting," says producer David Ellison

Top Gun‘s Maverick will return — and this time, he’s going to be fighting drones.

The sequel to the 1980s hit will examine the clash between manned and unmanned aircraft, the film’s producer told the Guardian, in an age when remotely operated flight increasingly becomes the mainstay of the U.S. Air Force.

“When you look at the world of dogfighting, what’s interesting about it is that it’s not a world that exists to the same degree when the original movie came out,” Ellison said. “So really exploring the end of an era of dogfighting and fighter pilots, and what that culture is today, are all fun things that we’re gonna get to dive into in this movie.”

David Ellison of production company Skydance confirmed that Tom Cruise will be featured in his role as star fighter pilot Maverick. Cruise said last year he was interested in the role.

It’s almost enough to take your breath away.


TIME movies

11 Real-Life Harry Potter Destinations You Can Visit

Your long-waited-for letter from Hogwarts may never actually come, but a visit to each of these destinations will get the fans pretty close

This article originally appeared on People.com

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