On his Christianity, working with Miley, being accused of melodrama
Nicholas Sparks majored in business and finance and later worked as a pharmaceuticals salesman — a soul-enriching experience that led to such soul-enriching novels as “The Notebook,” “Message in a Bottle,” “Remember Me.” “Nights in Rodanthe” and “Dear John.” Each bestseller later became a successful movie, leading to his latest sure-fire hit out Wednesday, “The Last Song.”
Yeah, I’m kind of centered in the belief that I’m not smart enough to presume to understand the will of God. I don’t know who’s going to heaven, who’s going to hell.
You can have passion without going all the way. I certainly didn’t do it in the novel, and it wasn’t written into the screenplay in any shape, matter or form.
I did talk to her a little bit about what she wanted to and what she didn’t want to do. She didn’t want to sing, but there could be a music element. I put in piano and that, of course, led into the title of the story itself, “The Last Song.”
Only in a positive way, because one of the most important things that you need in a film like this is chemistry between your couple. So it worked only in the positive sense.
Well, less than you would think. It’s not cathartic. I do draw on those experiences when I’m trying to craft such scenes. You want to move the viewer through the entire range of human emotion. Thrillers are supposed to thrill you and horror is supposed to scare you and comedies are supposed to make you laugh.
It goes part and parcel with what I do. But the only reviews I bristle at are the ones that are wrong, factually. I’d say, “Well, obviously you don’t like it because you missed the whole point!”
No, I bristle at it because it’s used as a pejorative inaccurately in reference to me. The difference really comes down to the fact that while drama attempts to evoke genuine emotion, melodrama attempts to manipulate that emotion. The way we do it in "The Last Song" is very subtle. It didn’t verge into melodrama.
No, not so much. The hard part about writing a novel is the original story and coming up with a new twist on an old story. For instance, if you look at “Dear John," in a nutshell that is an updated version of “Casablanca," which you probably never noticed because it was such a new twist. So that’s the real challenge.
Yeah, but I probably won’t go out with it this year because they’re starting to film “The Lucky One” in May. “True Believer” is going through whatever — and “At First Sight,” that is in negotiations right now. And then I’m writing another novel, which already had everybody seriously clamoring for it. Two movies is a lot in one year. I don’t know if I want to do three.