The film that would arrive in 2001 had a tortured route to screens that began in 1994, when producer Kevin Loader bought Louis de Bernières's novel and immediately set about adapting it. Loader and early collaborator Roger Michell believed a $25 million production would be hard to finance solely in the U.K., so they took the script to the United States seeking backing. The reaction they report receiving was telling: Hollywood studios and agencies, the pair said, were baffled or even 'put off' by sizeable portions of the book — passages about Mussolini, an eccentric subplot involving a cat, and chapters entitled L'Omosessuale among them. Those commercial sensibilities mattered. Unable to find a comfortable home in the American studio system for such idiosyncrasies, Loader and Michell turned the project to Working Title Films, where executive Tim Bevan accepted it as a European production. The episode is a small but revealing example of how late-20th-century studio risk-aversion and marketing calculus could push a literarily messy, controversial property out of the American system and into the hands of a company willing to shepherd a more idiosyncratic adaptation.
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