I think I've discussed Kull here (ad nauseam) in my Unseemingly Interview and several weeks (months?) back, I quoted portions of a scathing memo I had written to all concerned after I had seen a screening of it.
Actually shortly before the opening of the movie I got a very nice letter and autographed picture from Kevin Sorbo complimenting me (although he had never met me....also signed his autographed picture to Edward, not Charles Edward...which makes you wonder about sincerity) and telling me how true and faithful they had been to my "vision". I think it was mostly bullshit and he was trying to butter me up, probably at the behest of the producer who knew I was going to come out in my considerable news media sources and trash my experiences with the film and her, which would trash the film by association (I wouldn't come out and outright trash the film during its initial run...there's contractual crap about that sort of thing...you always come out and say, "It was a very good script, my personal experience was horrible, I hoped they remained true to it and it's good film"...but you get what you want to say out without really saying it).
Anyway, I wrote Sorbo back a letter, included are choice bits:
"...that 'web of power, control, and egos' you mentioned got in the way...This has nothing, of course, to do with you, but it is old bad business between Ms. DeLaurentiis and myself on DRAGONHEART..."
"Story meetings and conferences were held with you to which I was not invited, decisions made without the input of the writer...Needless to say, my firing had nothing to do with artistry or the merits of the script. The whole fiasco of my rewrite was designed to throw me off the script. On more than one occasion, Ms. DeLaurentiis had called the original script 'a masterpiece' and 'work of genius'. You do not replace a 'genius' (which I'm not) or even a very good writer (which I am) with a lesser talent, which was done. You don't dismantle a 'masterpiece' (which I'm not sure Kull is) or even a very good script (which Kull was)..."
"As a writer, I felt a great debt to the original creator of KULL, Robert E. Howard, and wanted to create the definitive Howard world, capturing his dark, moody, blood and thunder prose on screen...Mostly, I wanted a piece that, while embracing the genre, also transcended it...giving us multi-dimensional characters, rich plot, and vibrant dialogue...At one time we had accomplished that. Three years ago,we had a script everyone admired and was a"go" script once we found an actor. But..the voice of the writer who generated this project, conceived it, and made it viable was muzzled....I find no solace or even much sense in meticulously constructed, lauded work being mandhandled without the creator's input and approval."
Still, if they're running the sucker on cable, I'm getting residuals. So no artistic satisfaction; at least some financial satisfaction for my pains. Actually, the script from which Janet Greek discovered me was a sword-and-sorcery script (alas, never done) THE GREYSTONE...it was probably one of the first ever written in this town.