In the fall of 2004, Patrick Stark was on a mission: to find a novel to develop into the type of feature Anthony Minghella would direct. Stark, a veteran assistant director had just made his foray into producing and wanted to step up his game from independent short to Hollywood feature. Of all of the filmmakers whose films Stark admired, Minghella was telling beautiful, intelligent stories with commercial appeal and success. Stark, with the hope that he could one day work with the British director would soon discover the book review that would change his life.

Stark found the critique of W.D. Wetherell’s award-winning novel in an issue of the popular Entertainment Weekly, and was immediately intrigued by the premise:

It is 1918. A father, in a remote area of the Pacific Northwest, receives word that his son has been declared killed/missing in the last days of the First World War. With nothing left, he decides to embark on a journey, across the U-boat infested waters of the Atlantic to the blood-drenched killing fields of Belgium to find the exact spot where his son was presumed to have fallen.

Stark contacted the publisher, University of Michigan Press, and ultimately, Mary Bisbee-Beek – the Director of Foreign Rights, who couriered the book. Upon first read, Stark was convinced that A Century of November, with its epic journey and themes of loss, closure, and futility of war, would make a powerful film. Stark would soon gain both the film rights to the novel, and a friend in Bisbee-Beek.

With an extensive practical background in physical film production, Stark knew that a powerful partnership with someone with both business expertise and a passion for film was required to get this dream off the ground. There was no one other than Stark’s friend and producing associate from the short independent film project Tilt, Nicolas Awde, to approach. Awde’s response was an immediate affirmation.

With the film option of A Century of November in hand, the filmmakers decided that in order to realize this epic adventure, (with the budget to support it), they would need to seek a Hollywood screenwriter to adapt it. After extensive discussion around the great film adaptations throughout history, Awde suggested the re-make of The Count of Monte Cristo (2002), the only commercially successful reworking of Dumas’ tale. Stark agreed, and upon discovering that The Count’s screenwriter, Jay Wolpert was also responsible for the original Pirates of the Caribbean, the potential of Wolpert as a first choice began to slip away. However, Awde pressed Stark to contact Wolpert’s agent and to send a copy of the book. Stark obliged by writing a brief note expressing interest and slipping it inside the book before Fed Ex-ing the package to Wolpert’s agent Rich Freeman at Paradigm and promptly putting it out of his mind.

Months later, Stark received the call of his life when Wolpert contacted him directly. Wolpert, though flattered by the filmmakers’ note and their desire to have him adapt the novel, politely declined the offer. Wolpert had read the book, and loved it, but he didn’t see his schedule permitting him to tackle it. He wished Stark and Awde good luck, and goodbye.

Encouraged that a writer of Wolpert’s stature and commercial success could see the potential in A Century of November, the filmmakers continued in their pursuit of the Hollywood dream. Before even finding a second choice, however, Wolpert called back.

The screenwriter, who began his career as a game show producer on mainstream hits such as The Price Is Right, could not get the story of …November out of his head. He was ready to negotiate a deal to write the script.

What do filmmakers tackling their first feature offer a successful screenwriter who receives substantial compensation for his work from major Hollywood studios? Wolpert, understanding this dilemma, was open to suggestions. Stark and Awde’s plan was to offer Wolpert something the studios wouldn’t. Wolpert agreed to those terms, and the project was fully into its development.

Nearly a year after signing the writer’s agreement and a writer’s strike later, Wolpert arrived at the Vancouver International Airport as the guest of Awde and Stark. Over the course of a weekend, the filmmakers discussed the story in its entirety, shot an interview, and journeyed to Vancouver Island to scout locations and conducted research for the project.

Today, the project is well into its development and within a year, will be ready for its introduction to Hollywood. Minghella is now gone, but his great work continues to inspire the filmmaker’s search of beautiful stories to turn into profound and timely film projects.