as i've gotten three different choscar kiss prompts (are yall. ok?), and idk when I'll get to them, i figured i could split the difference by sharing some of my choscar wip. is that a fair exchange? choscar anons pls love me
premise is: charles as the "childhood best friend's older brother". oscar as the long-term down-bad idiot. charles is now -- surprise! -- oscar's boss at his new job.
Mr. To You
Is he allowed to use his phone? How often is too often to get up and wander towards the café? Is it weird to explore the floor a bit? Maybe introduce himself to his new coworkers?
He looks over at Max – sat in a different row, the middle desk – and notes the distinct lack of cell on his desk. That probably settles at least one question, doesn't it? Movement from the corner of his eye catches his attention; he shifts to take a not-so-subtle look, face freezing between two expressions: shock and abject terror.
Walking down their half of the hallway, waving good morning to a man that Oscar can't see, is a ghost from Oscar's past.
Or rather, a ghost from his entire childhood, teenagehood, and adolescence.
His shoes, light brown Italian leather, perfectly elegant and perfectly on trend, tap against the short-pile carpet as he draws closer – flashing another smile towards Max, whose shoulders visibly tense from behind.
Oscar feels the hairs on the back of his neck prickle, red-hot heat rushing under his skin like he's been doused in boiling water. Time seems to move in slow motion as he takes another step closer, as his hand – adorned with an oversized watch that should look horrendously gaudy, but rather highlights the span of his palm – moves to undo the button of his navy blazer.
And his chin turns, pink lips parted to flash yet another smile.
At him.
Charles Leclerc, the object of his hormone-fueled fixations since before he even had hormones to blame, looks at him – brilliant green eyes catching his with ease, dimple starting to show as he mouths 'good mor–'
Before he can finish, Oscar bolts; he scrambles to his feet and dashes towards the glass door a few steps behind him.
He's moving before he even realizes it, storming out onto the small balcony and stumbling over the wrought-iron seating set. He nearly falls flat on his face, which – at this point – may have been a mercy. Maybe if he punches in his nose and knocks out his teeth, Charles Leclerc won't even remember who he is – maybe he'll get to go home and quit over the phone, and no one would ever need to know.
The beating sun feels like ice compared to the blood pressing up against his skin, painting him a frantic, alarming shade of pink.
Not even taking a moment to calm his racing heart, Oscar pulls out his phone.
Oscar Piastri
What the fuck did you do
Arthur
yes yes good morning
im good! how are you???
Oscar Piastri
ARTHUR
Arthur
so polite, i am always saying this
why is it always me thats doing something??????
what the fuck did YOU do?? huh???
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Ok so like. Film adaptations of books are not universally bad things on principle. I’m definitely not saying that it’s impossible to produce a good one. But at the same time, film and the written word are different mediums that aren’t necessarily suited to telling stories in the same way.
For example, in a book, especially a highly character driven one, you get to directly see and read a lot of a character’s thoughts. And this has a huge impact on your experience of the story. And sure, you can convey this in a somewhat similar way with a voice over in a film adaptation, but depending on the scene being adapted, this doesn’t always work great or feel natural.
And that’s not a bad thing. It just means that it doesn’t translate to film well because film is a different medium that tells stories in a different way. And there certainly are books that translate well to film. But to be honest? A lot don’t. Especially not in a way that even comes close to touching the original that it is based off of. And that’s fine. Plenty of amazing movies and TV shows wouldn’t translate well into books and most people wouldn’t really want or expect them to.
So no. I really don’t think that “achieving” a film adaptation should be seen as a goal the way it seems to be for a lot of books and I think that seeing this as a goal is often doing a huge disservice to the original work. I think that books that are well served by film adaptations are the exception, not the rule, and that most of the drive to produce film adaptations of popular books is driven by the urge to squeeze every last possible bit of profit out of every single creative idea ever rather than like. I don’t know. Actual appreciation for the source material and a genuine wish to understand it in a different light.
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