There's a pretty informative story about how, after getting the gig to adapt his own novel The Cider House Rules, John Irving sat down feeling fairly confident, thinking something to the effect that "Hey, all I have to do is re-type who people are, what they do and what they say -- this'll be a breeze ..." and, after doing that with his novel, found he had enough screenplay pages ... for a nine-hour film. Adaptations are tough: What do you leave in, what do you leave out? Is fidelity the only true measure of worth, or can carefully-made changes actually improve the film version of a book? Below are some of my picks for the best adapted screenplays of the past ten years; as ever, this list is wildly subjective, and our ever-hungry comments section awaits your picks. ...

1) Jackie Brown (1997)

A great example of how tweaking a good book can make it even better -- Quentin Tarantino's adaptation of Elmore Leonard's novel Rum Punch moved the setting from one coast to another, changed the race of one of the leads -- and, by ignoring such petty details, wound with a film that completely nails the talky, criminal, human spirit of Elmore Leonard's amazing body of work. Leonard's work also gave Tarantino the first grown-up story he's ever worked with, and Tarantino stepped up to the plate and delivered -- as fond as I am of Pulp Fiction's incendiary inventions, I still think Jackie Brown is the better actual film.

2) Children of Men (2006)

Another case where the screenwriters modified much of the book to the improvement of the story -- P.D. James's novel takes place over a period of months, while Curaron's film speeds by over a few days like a fever-dream nightmare. There are other changes, too (Clive Owen's lead is no longer related to England's all-powerful Big Brother, but, instead, Danny Huston's minor functionary), but the decision to strip Children of Men down to a few nightmare days was incredibly insightful -- and made for an adaptation that works as an amazing film.

Hopefully we'll never again have to see Marlon Wayans' face on the body of a little person, or covered by a white-girl mask. If he and his brothers (Shawn and Keenan Ivory) want another franchise (they are still going with the Scary Movie series), they could possibly make one out of their next project. The Wayanses are turning their comic book Super Bad James Dynomite into a live-action feature film for Rogue Pictures with Marlon starring as the title role. Dynomite is a 1970s blaxploitation-era detective -- ala Shaft and Dolemite (which is apparently being remade) -- who has been in prison for the past 35 years, or so. When he's released in the present, he retains his 70s look, complete with exaggerated afro, and sets off to find the criminal who framed him.

The comic is full of adult material, so turning it into a franchise wouldn't be as easy as it has been for superhero titles. The Wayans brothers aren't reported as being interested in sequels, but I'm sure Rogue would love a franchise if the guys were down and if the first movie does good business. Of course, there are a few reasons why the movie might not be too successful. The most important of these reasons is that blaxploitation doesn't need another homage. Between the Shaft remake, Jackie Brown and the spy comedy Undercover Brother, we've seen enough tributes to and jokes on the genre recently to last us another 35 years. Plus, the Wayanses already covered the territory with the blaxploitation spoof I'm Gonna Git You Sucka. The bottom line, though, is that the original films are just too enjoyable by themselves to require any kind of hindsight rehash. If Dynomite is only a single shot film, Rogue should be fine. The studio also just bought another script from Marlon and Shawn, which was co-written by Xavier Cook and Mitchell Marchand (The Wayans Bros. television series).

Apparently John Waters mis-cast Cecil B. Demented when he put Stephen Dorff in lead role. It seems that Quentin Tarantino is the real guerilla filmmaker, or at least, he was willing to be. Reports say that the director recently told Culture magazine: "I would have died for Reservoir Dogs and I would have died getting a shot for Pulp Fiction." I can just see Quentin running around with crazy hair, getting cinematic shots while dodging gunshots. While he holds those films close to his heart, the same can't be said for Jackie Brown: "I don't know if I would have died for Jackie Brown and that scared me a little." I think we're all right there with you, Quentin. However, if you want, you can try to rationalize this as something other than the fact that it wasn't as good: "I think the reason was that it was based on a novel, it wasn't an original thing born from me."

The director goes on to talk about the curse of aging. He's quoted as saying: "Directors don't get better as they get older. They get worse and they get out of touch." I'm a bit surprised that he's saying this. Following his previous comments, which don't include Kill Bill or his upcoming Death Proof, does that mean he doesn't like them as much because he feels older and out of touch? Is this the end of Tarantino? Has he forgotten that he is pushing 50? To top that off, he also stated: "There is this weird thing with movie-making where you king of figure out how to do it. You're pulled along by experience. By the second one you know a hell of a lot more than you did on the first one." Methinks Tarantino is getting a little confused, especially since he followed it up with: "I don't want to be a professional. I like holding on to my amateur status." Correct me if I'm wrong, but Tarantino stopped being an amateur long ago.

It might be hard to believe, but Quentin Tarantino's Reservoir Dogs turns 15 today. Now, before you haul out the abacus, you've probably noted that 1992 + 15 = 2007. Reservoir Dogs premiered in October of 1992 the last time we checked, and it seems like only yesterday there was much fanfare over the tenth anniversary edition of this film (which was released in 2002), complete with five different covers for the same DVD ... collect them all! Perhaps 14 just wasn't as sexy of a number, and of course Lionsgate wants you to double dip when the HD-DVD version comes out at some point, so that leaves us with a 15th anniversary edition a year early. Although if you want to get extremely technical with the dates, Tarantino actually workshopped some of the scenes from Dogs at Sundance in 1991, so is this the date they're shooting for?

At any rate, the packaging alone is pretty cool on this release. They've housed the DVD in a metal case that looks like a gas can, and when you slip the interior packaging out, it is in the shape of a huge matchbook from "Uncle Bob's Pancake House," which is where Steve Buscemi tells everyone "I don't tip" as Mr. Pink. The whole package is sort of a gruesome reminder from one of the scenes in the movie. When the tenth anniversary DVD came out, Lionsgate sent out fake foam rubber ears announcing the release, which have become highly collectible among fans. I guess they like reminding us how violent the torture scene in this movie really is.

Tarantino's now cult-classic film opened the door for ultra-realistic violence in films, but it also helped usher in a new era of non-linear storytelling. After this movie came out, writers and directors began to play with the concept of time a lot more often, using flashbacks and flash-fowards to help make a simple story a lot more interesting, to show it from different angles and perspectives, and to flesh out character development. Tarantino didn't pioneer this technique, but he made such extensive use of it that you can still the effects of it in movies today.

The film also helped establish Tarantino's visual "look," from the black suits with the skinny ties, to the minimal sets with dialogue-heavy scenes. It also showcased his love for vintage and 70s music through "K-Billy Super Sounds of the 70s," on the radio throughout the movie, and DJed by deadpan comedian Steven Wright. Additionally, he took chances on B- and sometime C-list movie stars who had either fallen from the limelight, or had not worked in quite some time, which is something he continues to do -- reviving the careers of John Travolta, Robert Forster, Pam Grier and others.

Tarantino is a self-proclaimed cinephile, and in this movie he has lifted several scenes and plot elements directly from other films, particularly from Ringo Lam's excellent City on Fire which stars Chow Yun-Fat. If you haven't seen it, rent it some time and you'll see how similar the two films are, down to exact scenes. They say that imitation is the sincerest form of flattery, and while Dogs isn't a direct ripoff, it comes close at times. Tarantino has claimed that he steals from all of his favorite movies, and if that's the case, then Dogs is no different.

Today also sees the release of the Reservoir Dogs video game (featuring the voice and likeness of Michael Madsen), which promises to bring the same ultra-violence to your home gaming systems. It seems an odd choice to make a game out of this film, given the extreme violence and open and closed plot, but we've also seen Scarface and The Godfather made into games as well recently, so stranger things have happened. Just don't look for Jackie Brown: The Game anytime soon. We hope. ...