"Princess Rose should indeed be a TV movie, assuming something doesn't go wrong. I don't know how good a movie it will be, because the way movie folk think is different from the way writers think, and I distrust what isn't done my way. This is what I call a healthy paranoia"
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Piers Anthony isn’t confessing insecurity so much as staging a controlled act of suspicion: a writer watching his work move into the film machine and bracing for the inevitable translation errors. The first clause, “should indeed be a TV movie,” carries the careful optimism of someone who’s been promised adaptation before. Then he undercuts it with the insurance-policy phrase “assuming something doesn’t go wrong,” telegraphing how often things do.
The most revealing move is the split between “movie folk” and “writers.” That little tribal line draws a border around authorship: writing is interior, deliberate, language-first; filmmaking is collaborative, market-tested, and notoriously willing to swap nuance for pace. Anthony’s distrust isn’t only about quality; it’s about agency. “What isn’t done my way” isn’t petulance here so much as an admission that authors experience adaptation as a loss of sovereignty. The subtext is a professional fear: the work may survive, the brand may even grow, but the author’s intentions can be rewritten without his consent.
Calling it “healthy paranoia” is the punchline and the shield. He converts bitterness into a wry self-diagnosis, presenting vigilance as wisdom rather than ego. It’s a savvy rhetorical move: he preempts accusations of control-freakery by owning the trait and reframing it as reasonable in a business where writers are routinely sidelined. In the late-20th-century TV-movie ecosystem especially, genre fiction often got flattened into formula. Anthony’s joke lands because it’s not really a joke: it’s a survival tactic dressed as humor.
The most revealing move is the split between “movie folk” and “writers.” That little tribal line draws a border around authorship: writing is interior, deliberate, language-first; filmmaking is collaborative, market-tested, and notoriously willing to swap nuance for pace. Anthony’s distrust isn’t only about quality; it’s about agency. “What isn’t done my way” isn’t petulance here so much as an admission that authors experience adaptation as a loss of sovereignty. The subtext is a professional fear: the work may survive, the brand may even grow, but the author’s intentions can be rewritten without his consent.
Calling it “healthy paranoia” is the punchline and the shield. He converts bitterness into a wry self-diagnosis, presenting vigilance as wisdom rather than ego. It’s a savvy rhetorical move: he preempts accusations of control-freakery by owning the trait and reframing it as reasonable in a business where writers are routinely sidelined. In the late-20th-century TV-movie ecosystem especially, genre fiction often got flattened into formula. Anthony’s joke lands because it’s not really a joke: it’s a survival tactic dressed as humor.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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