Naked Singularity, based on Sergio De La Pava’s PEN prize-winning novel, tells the story of Casi (John Boyega), a public defender disillusioned with the justice system, and his entanglement in a drug heist. In an interview, writer/director Chase Palmer, of It: Chapter One fame, discusses the challenges and triumphs of adapting the novel for the screen and bringing Sergio De La Pava’s unique voice to life.
Sadie Dean engaged with Chase Palmer about adapting novels to screenplays, approaching his film Naked Singularity through a director’s lens, and what sparked his interest in selecting this adaptation as his directorial debut.
Sadie Dean: What drew you to Naked Singularity as both a writing project and your feature directorial debut?
Chase Palmer: Tony Ganz, a producer, shared both the script and the book with me. He had been working on it for about seven years. There was a script already written by David Matthews, previously developed with other directors, including Ryan Fleck and Anna Boden, who now have executive producer credits. I was asked to take a look at David’s work and rewrite it. I found David’s work interesting and was drawn to the social justice themes and the fact that the book was written by a public defender. However, I hadn’t yet read Sergio’s book. Once I read Sergio’s amazing book, this incredible wild work, it’s like 700 pages and, there’s chapters of court reporting, it was outraged, it was absurdist it was kind of darkly comic, it was kind of out there. He was juggling genres and there was sort of a metaphysical element I found really appealing, despite how complex the book was, there’s a simple kind of underlying voice to it and an attitude that I thought would be a fun and unique way to explore this frustration with the criminal justice system, in a way that’s kind of fun and entertaining, but that’s still grounded in a well-observed experience from somebody that has been fighting this fight for 20 years. It was Sergio’s voice in that book that got me hooked. I then went back to the book, extracted what I loved about it, and essentially rewrote it for myself to direct.
Sadie: Did you collaborate with David Matthews during the rewrite process?
Chase: I took over the script and spent a year reworking it. David’s contributions are still present in the final version. When you already have strong material in a script and a powerful book, your job is to assemble, edit, and shape the gold into a compelling story.
Sadie: The movie has a powerful line: “One can break the law and still believe in justice.” How did that inform the theme, character development, and plot?
Chase: That line was crucial. We were juggling three distinct genres: a New York courtroom drama reminiscent of Sidney Lumet, a Jackie Brown-esque heist movie, and a metaphysical element meant to reflect Casi’s emotional state. With so much complexity, boiling down the ideas to a single, memorable line was essential for audiences to grasp the core themes amidst the philosophical discussions and metaphors.
Sadie: How did you approach blending those different storytelling styles with a metaphysical twist? Did you map it out in the screenplay or use storyboards to ensure cohesion?
Chase: A key element was ensuring the legal drama had a heightened tone, with a touch of absurdity. By slightly elevating that aspect, the more fantastical elements could blend in more seamlessly. It was about making sure the beginning and end coexist nicely. The metaphysical aspects evolved throughout the process – some ideas were present in the script but refined during shooting and editing. Testing the movie allowed us to discover new places for these elements, ensuring they felt consistently integrated. Some ideas that we shot, and they didn’t work as well and so we pivoted and came up with a better idea. Flexibility is crucial; you’re essentially rewriting the movie until it’s locked.
Sadie: Taking a step back, how did you become a screenwriter and director?
Chase: I’ve always approached screenwriting as a filmmaker. I started by shooting short films and writing based on those experiences. I try to write not just for the page but also with the practicalities of production in mind, considering what might be more visually interesting on screen. I’ve been fortunate to work with talented directors, many of whom are also writers. Watching them rewrite with me, informed by their on-set experiences, taught me valuable lessons. Sometimes, things that seem effective on paper don’t translate well to the actual shooting process.
Sadie: What advice would you give to screenwriters adapting a novel?
Chase: Start by adapting the spirit of the novel, not just the plot. Internalize what made you react to it, what makes it unique and exciting, whether it’s the author’s voice or specific moments. Don’t be too tied down to the plot mechanics; instead, capture the essence. This allows you to consolidate, cut, and create your own material while staying true to the original spirit. We did that with the adaptation of It – it’s a big book and we’re trying to get this spirit of that. Pick your battles – that would be my number one bit of advice.
Sadie: That’s wonderful advice – tapping into the spirit of the book and author. Chase, thank you so much, and I hope you direct more films in the future.
Chase: Thanks, me too.
