Finally, Smokin' Joe is back to talking about White Jazz. As he says on his blog, "Finished the last draft of the script and it's off to the forces that control its fate. It rocks but I'm worried that it's, at times, a fairly radical break from the book. Understanding that adapting that book straight is like trying to fly a kite in a firefight. What gives the novel it's brilliance is the endless, fevered-dream state." Carnahan goes on to say that since he's not legally allowed to use the Exley character, "my brother and I were forced to basically construct a doppelganger, giving him all of Exley's traits and speech patterns. We're hoping it works. On paper. It's fantastic." I was wondering how he was going to resolve that issue -- looks like we're just going to get Ted Texley, basically. And, having read the book, I agree that it can't possibly be adapted straight. It's too out-there for there not to be some radical changes, especially towards the end.
Carnahan has also dropped the first art from pre-production that gives us an idea of his vision of Los Angeles, 1958. This sprawling, high-res photoshopped pic -- click on the small image above to get the full-size -- is pure old Hollywood. Link back to the full interview I did with Carnahan in April to get a better idea of what kind of Los Angeles he's going to create for us. And also, check out the driver of the red sled on the center right-hand side of the picture -- no points for identifying him. I think I'm gonna have to parachute into this set once things get rolling, to get a good look at what's going on.