How true was that to the narrative structure of the book?
It seems it would be challenging to adapt something that’s so specific to the book. RR: It was very challenging. Except for Rashomon, and maybe one or two others, there are not a lot of movies that will commit to the idea of going back and forth through the entire movie. You may have a scene or two that are told from two different perspectives, but not an entire film where you go back and forth, so that is kind of risky. For a while, when Andy Scheinman and I adapted it, we toyed with the idea of: can we tell it in some kind of linear fashion without using the convention of flipping back and forth? But we kept going back to the fact that it worked in the book, and I felt that since it worked in the book from an emotional standpoint, it had to work in the film. When we did The Princess Bride years ago, a lot of people said to us, “You can’t have the grandson keep interrupting the story because the people are going to lose track of the story. You’re going to have to start it up again, or
