It started the way so many things do for screenwriters: with a call from a producer. It was three years ago, during the pandemic, and the call was from Gareth Neame, CEO of Carnival Films, who asked if I would consider adapting Frederick Forsyth’s iconic 1971 novel The Day of the Jackal for longform television. It wouldn’t be a remake, he stressed, but a contemporary reimagining.
I was flattered by the approach and that night sat down to rewatch Fred Zinnemann’s brilliant 1973 film adaptation. But when considering any offer, I always ask myself four things: is it interesting, does it feel substantial, is it a project I can bring something to? Then, will I get on with the producers?
