The Coma

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Fritz, Ben; Brodesser, Claude (3 February 2005). "Halo, Hollywood, Microsoft readies video game for first pic". Variety. Archived from the original on 5 April 2005 . Retrieved 23 September 2022. verifyErrors }}{{ message }}{{ /verifyErrors }}{{

Annihilation' director Alex Garland chats with CNET about the upcoming film". CNET. 8 February 2018 . Retrieved 18 March 2018– via YouTube. @ 32m15s-33m30s Alex Garland is in a position that most writers dream of. Young, financially flush and extremely successful. But The Coma is such a letdown that one wonders if Garland has fallen prey to the business side of writing. With his nest egg and fan base, there was no need for him to rush out this unpolished and instantly forgettable book. It's unfortunate that with his third effort, he's overplayed his bluff. | August 2004I can understand some readers’ frustration at the way this novel meanders but if you’ve read Garland’s most famous work, The Beach, you’ll know his theme of aimless wandering is a favourite of his. The Coma is an extension of that theme, delving further into our identities and our search for meaning. ANNIHILATION (2018) - Alex Garland Behind the Scenes Interview - The Media Hub this week". The Media Hub. 10 February 2018. Archived from the original on 12 December 2020 . Retrieved 18 March 2018– via YouTube. His father's illustrations heighten the oddness. Garland was very keen to make the novel a collaborative effort, in part because he had enjoyed that experience when working on the screenplay for the film 28 Days later with Andrew Macdonald and Danny Boyle, who also directed the film of The Beach. Alex Garland Will Never Direct Another 'Dredd' Movie: 'It Was a Crude Experience' ". IndieWire. 11 October 2019 . Retrieved 20 October 2020. Tim Adams, writing for the Guardian, said, "Garland is very good at recreating the virtual worlds of the half-awake and then subtly dissolving them." [3]

Cailee Spaeny on What to Expect From Alex Garland's New Show, Devs". Indiewire. 26 July 2019 . Retrieved 7 September 2019. I think the search for answers and aimlessness is especially pertinent to Garland who was making the transition from feted young novelist to high profile screenwriter at this time. The Coma is that transition in a book from prose to screenwriting, as well as the answer that he was done with novels and ready to move on to something new. After bolting out of the gates with The Beach, which met both popular and critical success (and a sizable advance), Alex Garland drew comparisons to Graham Greene for his sparse, quasi-cinematic prose and his juxtaposition of Gen-X angst with westerners wandering exotic lands. Garland followed his debut up with The Tesseract, an inexplicably condemned novel that explored circumstance and coincidence, painted a percolating mosaic of the Philippines, and hinted at a deeper human intimacy germinating in Garland's gourd. Garland made his directorial debut when he wrote and directed the sci-fi thriller Ex Machina (2014). The film earned him an Academy Award nomination for Best Original Screenplay and won him three British Independent Film Awards (Best Screenplay, Best Director, and Best British Independent Film). His second film, Annihilation (2018), was an adaptation of the 2014 novel and was also a critical success. He wrote and directed the miniseries Devs (2020) and the horror film Men (2022). Kroll, Justin (29 April 2016). " 'Containment' Star Joins Natalie Portman in 'Annihilation' ". Variety . Retrieved 9 April 2017.

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Alexander Medawar Garland (born 26 May 1970) is an English novelist and filmmaker. He rose to prominence with his novel The Beach (1996). He subsequently received praise for writing the Danny Boyle films 28 Days Later (2002) and Sunshine (2007), as well as Never Let Me Go (2010) and Dredd (2012). In video games, he co-wrote Enslaved: Odyssey to the West (2010) and served as a story supervisor on DmC: Devil May Cry (2013). There’s also other ways to interpret The Coma: it might be an exercise in exploring narrative fiction from the perspective of the character. Carl is a character in a novel, so this story might be about him slowly realising this. All he knows are the facts that the author has supplied him with that we see in the opening passage of the book: he works in an office with papers, he has a secretary, he was brutally assaulted, and he’s in a coma. When he thinks about other aspects of his life, he draws a blank. If that could happen to Carl, could it happen to us – are we characters in a story we’re not aware of? The atmosphere of the book reminded me of reading Kafka, that sense of shifting alienation. He agrees that it was exactly that mood that he was trying to generate. It’s interesting how Garland looks at language as well - Carl has been in a coma for so long that he begins to forget how to use and the meaning of language. He throws out unconnected words and then muses on why those don’t make sense but others do, like the ones he uses to express himself. Or do they? Towards the end, the gibberish begins to make sense to him. Does that mean he’s freeing himself from the bonds of the author? Does that mean he’s deteriorating - that he’s actually dying and his brain is giving up? In 2005, Garland wrote a screenplay for a film adaptation of Halo. [14] D. B. Weiss and Josh Olson rewrote this during 2006 for a 2008 release, [15] [16] although the film was later canceled. [16] In 2007, he wrote the screenplay for the film Sunshine, which was his second screenplay to be directed by Danny Boyle and to star Cillian Murphy. Garland served as an executive producer on 28 Weeks Later, the sequel of 28 Days Later. He wrote the screenplay for the 2010 film Never Let Me Go, based on the novel by Kazuo Ishiguro. He also wrote the script for Dredd, an adaptation of the Judge Dredd comic book series from 2000 AD. In 2018, Karl Urban, who played the eponymous role in the film, stated that it was Garland who deserved credit for also directing Dredd. [17]