In the spring of 1987, Americans wanted to buy the rights to film "L'amant" at a low price. Producer Claude Berry decided to let his company buy it. Margaret wanted to be a director, but Berry was noncommittal. While Marguerite was making the adaptation, Berry contacted Jean-Jacques Arnault and asked him to be the director. Arnold initially dodged it and later accepted it. He wrote his script based on the novel. What he wanted to express was that a white girl plunged into the arms of a Chinese youth and made a lot of noise in the colonial society. It can be seen that he and Duras are making two adaptations with completely different content and focus. Soon, Margaret became seriously ill and was taken to the hospital.
Duras was in a coma for 9 months in the hospital. The doctor was helpless and there was no hope. The filming plan continues as usual. But Duras miraculously woke up again. In the fall of 1989, shortly after being discharged from the hospital, Margaret called Arnold, hoping to meet him. Arnold took hundreds of photos taken at the place where Margaret spent her childhood to see her. Marguerite's eyes lit up, watching and listening. The next day she called Claude Berry: "That young man is very likable. He also has ideas about the film. He talked about it as if he was talking about his own film." The honeymoon lasted for several weeks. Margaret publicly declared that their cooperation was fruitful. Gradually, Arnold understood Margaret's intentions, and she asked Arnold to be her assistant. Her adaptation has been written. She asked him: "So I used my script Luo?" He said, "No, I would rather use novels, and novels give me more inspiration." "What inspired you?" "Inspired me to write a script. "But this is my film, you have to use my film to make money." Duras put on a smile. Arnold went on to see her on San Benoit Road. He enriched the subject matter with Duras's memories, and one day he handed the adapted screenplay to Margaret, who was co-signed by Blach.
Duras looked at the book in front of him. She stayed on page 10, which read: The Chinese car passed through a muddy pit. She said, "This little pit is not muddy, it's covered with dust." She didn't want to read any more. It took 3 hours to discuss this little pit. Arnold told her that this detail is irrelevant because the film will be shot during the dry season. "Then you don't verify anything? If it's covered with dust, why would you write muddy?" Arnold later recalled: "From then on, after entering the second stage of cooperation, she began to insult me. She I feel deprived. I know her secrets and she hates me. Her work is getting more and more unorganized. One day she said to me:'Did you see the flowers in the living room? Do you know who sent them? Lian Ni. She was willing to make this film, and Susan Furlong was also willing. Arnold had to go to Bailey. But everyone had signed, and the filming rights belonged to Claude Bailey, but Duras has a legal person Right, you can oppose the shooting. To shoot, you must have her consent.
So began endless and intricate negotiations. Back and forth between the two places, many-temporary-peace agreements were signed. After Berry agreed to pay the author of "L'amant" amazing copyright fees, filming fees, script adaptation fees, and a 10% profit distribution, Margaret finally signed the contract and admitted that her adaptation did not meet the requirements of "L'amant". "The original idea of the film, stop all adaptation work, do not oppose Bailey's filming of this film
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