Hollywood studio behind 12 Years a Slave wins rights for 'real life Lord of the Flies'
The Hollywood studio behind 12 Years a Slave and The Revenant has won the battle for film rights to the story of the six Tongan teenagers stranded for months on an uninhabited island in the mid-1960s, dubbed as the “real-life Lord of the Flies”.
Rutger Bregman, the historian whose immensely popular article was published by the Guardian on 9 May and triggered the rights scramble, confirmed that New Regency had won the battle, after he, the four survivors still living, and Australian sailor Peter Warner who rescued them, took a collaborative decision to accept the studio’s offer.
Bregman recounted the experiences of six Tongan teenagers who survived for 15 months on the remote island of ‘Ata in 1965, after stealing a fishing boat and attempting to sail to Fiji, about 500 miles away. Deadline reported that New Regency saw off competition from other major players including Netflix, MGM and British producers Working Title for “a low sevenfigure deal”.
Bregman told the Guardian: “I was so surprised the story exploded in the way it did. Dozens of film-makers wanted the story. I thought it was vital for us to collectively decide what to do.
“We had received lots of offers, and pitches. It was really important to all of us that they understood this was a Tongan story, there were very deep cultural reasons why these boys were able to survive – their spirituality, their upbringing. Yesterday at 6am we had a Zoom call, all of us, in four different time zones. When we made the decision it was a very emotional moment for all of us.”
In keeping with the collective spirit,
Bregman says they will share the proceeds equally, with each receiving one-sixth. Bregman says he will donate his share to a Tongan charity.
Much discussion has concentrated on ensuring that any resulting film should be true to Tongan culture, with Jojo Rabbit director Taika Waititi tweeting: “Personally, I think you should prioritise Polynesian (Tongan if possible!) filmmakers as to avoid cultural appropriation, misrepresentation, and to keep the Pasifika voice authentic.”
Bregman says that New Regency “made very clear promises in that regard”, adding: “It was very important to all of us that they would honour the Pacific voice, that the film would go really deep in understanding Tongan culture.” While no names of potential writers or directors are being made public, Bregman said that the survivors – Sione, Mano, Tevita and Luke – would act as consultants to the project, and that as much production as possible would take place in the region. The decision was unanimous, Bregman said, and their meeting ended with a prayer led by Sione, who is now a pastor in the Church of Tonga based in Oakland, California.
Some speculation has surrounded Warner’s participation in the agreement, partly as he raised money for the teenagers after they were imprisoned on their return to Tonga (for the theft of the fishing boat), by selling story rights to Australian TV. Bregman says that he is very unhappy with suggestions that Warner sought to make money from his role in the rescue – “it is very far from the truth” – a view backed up by Mano, who told the Guardian: “If no Mr Warner, we never survive, if no Mr Warner we won’t be here to tell our story. If Mr Warner makes some money from it, good luck for him, that’s my opinion. I would tell everybody please shut up.”
Bregman added: “This will have a huge cultural, social economic impact for Tonga. People have been telling each other this story for decades in Tonga, and it’s so great that after 50 years this story is getting the attention it deserves.”