<P> Change is essential and practically unavoidable, mandated both by the constraints of time and medium, but how much is always a balance . Some film theorists have argued that a director should be entirely unconcerned with the source, as a novel is a novel and a film is a film, and the two works of art must be seen as separate entities . Since a transcription of a novel into film is impossible, even holding up a goal of "accuracy" is absurd . Others argue that what a film adaptation does is change to fit (literally, adapt), and the film must be accurate to the effect (aesthetics), the theme, or the message of a novel and that the filmmaker must introduce changes, if necessary, to fit the demands of time and to maximize faithfulness along one of those axes . </P> <P> In most cases adaptation, the films are required to create identities (for example, a characters' costume or set decor) since they are not specified in the original material . Then, the influence of film - makers may go unrecognised because there is no comparison in the original material even though the new visual identities will affect narrative interpretation . Peter Jackson's adaptations of The Lord of the Rings trilogy and The Hobbit by author JRR Tolkien represent an unusual case since many visual and stylistic details were specified by Tolkien . For the Harry Potter film series, author JK Rowling was closely consulted by the filmmakers, and she provided production designer Stuart Craig with a map of Hogwarts' grounds and also prevented director Alfonso Cuarón from adding a graveyard scene because the graveyard would appear elsewhere in a later novel . </P> <P> An often overlooked aspect of film adaptation is the inclusion of sound and music . In a literary text, a specific sound effect can often be implied or specified by an event, but in the process of adaptation, filmmakers must determine specific the sound characteristics that subliminally affects narrative interpretation . In some cases of adaptation, music may have been specified in the original material (usually diegetic music). In Stephenie Meyer's 2005 Twilight novel, the characters Edward Cullen and Bella Swan both listen to Debussy's Clair de lune and Edward composes the piece Bella's Lullaby for Bella . While Clair de lune was a pre-existing piece of music, Bella's Lullaby was not and required original music to be composed for the 2008 movie adaptation . </P> <P> In the 2016 sci - fi film 2BR02B: To Be or Naught to Be adapted from the story by Kurt Vonnegut, the film - makers decided to abandon Vonnegut's choice of music . They stated that they felt that it worked in his prose only because it was not actually heard . Filmmakers' test screenings found that Vonnegut's style of music confused audiences and detracted from narrative comprehension . The film's composer, Leon Coward, stated, "You can try to be as true to Vonnegut's material as possible, but at the end of the day also you're working with the material that you as a team have generated, not just Vonnegut's, and that's what you've got to make work ." </P>

What is true about both the stage and film version of drama