The Salmon of Doubt

fact, when I was making the original radio series, it was unheard of to do what I did. Because I’d just written it. But I kind of inserted myself in the whole production process. The producer/director was a little surprised by this, but in the end took it in very good grace. So I had a huge amount to do with the way the program developed, and that’s exactly what Jay wants me to do on this movie. So I felt, “Great, here’s somebody I can do business with.” Obviously I’m saying that at the beginning of a process that’s going to take two years. So who knows what’s going to happen? All I can say is that at this point in the game, things are set as fair as they possibly could be. So I feel very optimistic and excited about that.

It’s been nearly twenty years since the radio program, right?

D.A. Well, it’s almost exactly twenty years. It’ll be twenty years next month.

O. What’s the enduring appeal of Hitchhiker’s Guide to the Galaxy? D.A. Well, I don’t know. All I know is that I worked very hard at it, and I worried very much about it, and I think I made things very difficult for myself doing it. And if ever there was an easy way of doing something, I would find a much harder way to do it. And I suspect that the amount that people have liked it is not unrelated to the amount of work I put into it. That’s a simplistic thing to say, but it’s the best I can come up with.

O. Is the idea that the movie will cover the first book?

D.A. Yeah. It’s funny, because I’ve been looking around the Web at what people have been saying.

I’ve seen, “He’s going to put all five books into it.” People just don’t understand the way a book maps onto a movie. Somebody said, and I think quite accurately, that the best source material for a movie is a short story. Which effectively means, yes, it’s going to be the first book. Having said that, whenever I sit down and do another version of Hitchhiker, it highly contradicts whichever version went before. The best thing I can say about the movie is that it will be specifically contradicting the first book. O. Which version of Hitchhiker are you happiest with?

D.A. Not the TV version, that’s for sure. In different moods I will feel either the radio or the book, which are the two other versions left, so it’s got to be one of those, hasn’t it? I feel differently about each of them. On the one hand, the radio series was where it originated; that’s where it grew; that’s where the seed grew. Also, that’s where I felt that myself and the other people working on it—the producer and the sound engineers and so on, and, of course, the actors—all created something that really felt groundbreaking at the time. Or rather, it felt like we were completely mad at the time. I can remember sitting in the subterranean studio, auditioning the sound of a whale hitting the ground at three hundred miles an hour for hours on end, just trying to find ways of tweaking the sound. After hours of that, day after day, you do begin to doubt your sanity. Of course, you have no idea if anybody’s going to listen to this stuff. But, you know, there was a real sense that nobody had done this before. And that was great; there’s a great charge that comes with that. On the other hand, the appeal of the books to me is that that it’s just me. The great appeal of a book to any writer is that it is just them. That’s it. There’s nobody else involved. That’s not quite true, of course, because the thing developed out of a radio series in the first place, and there is a sense in there of all the people who have contributed, in one way or another, to the radio show that it grew out of. But, nevertheless, there is a this-is-all-my-own-work feel about a book.

And I’m pleased with the way it reads. I feel it flows nicely. It feels as if it were easy to write, and I know how difficult that was to achieve. O. Do you ever get tired of Hitchhiker’s Guide to the Galaxy? D.A.