Not so. The subtext he created Peter Webber, ruthlessly cutting off the script Hetre Olivia was adapted from the novel by Tracy Chevalier, which earned him a showdown with her, disappointed to see how his first book was made into a film stripped of his garments to become in different body projection. People such as Starbucks in New York would likely agree. The history between the two ended well despite the first frustration are now working together on another project. I wish that this subjective world had been devised by writer, because, in my view, is the richest set in history, but did not. This time, fortunately, was a director who was responsible for creating it, even if it was not given in the script. The other side of the coin is that professional screenwriters suffer more than they want: a director misses the subtext reflected in the role and merely reproduces dialogue, ending any form of subtlety that is a reflection of human communication and his greatness, namely the mixture of verbal and nonverbal communication, that every writer should dominate and create, and any director, orchestrating the fullest to achieve synergy.
Peter Webber and I met thanks to Christian Routh, good friend and wonderful script consultant, former director of the European Script Fund, Pilots, Co-Pilot and many more sheds. Dimos conferences paths within the European development program Four Corners, who runs Christian with wisdom and skill. Mine was about the dialogue and his on "The Girl with the Pearl." A He played to defend the reasons why that killed most of the screenplay by Olivia Hetre.