1. "Magnolia" -- Being that there are many characters in this film, a close third-person point of view would be the best way to depict the story. In fact, when I re-watched “Magnolia,” I imagined it written on page like a stream-of-consciousness novel, such as a novel by Virginia Woolf. After all, there is a narrator who speaks at the beginning and the end of the film.

2. "Synecdoche, New York" -- First-person stream-of-consciousness would be perfect. I can just imagine strong descriptions of Philip Seymour Hoffman’s character Caden’s depressing and cynical thoughts. Because time, or the lack of it for Caden, is a major theme in the film, I imagine it written in present-tense. The writer/director of this film, Charlie Kaufman, says he is writing a novel. Unfortunately, that may take a long time being that Kaufman is known for taking a long time with his work.

3. "Inside Out" -- Multiple perspectives from all the different emotions: Joy, Sadness, Anger, Fear and Disgust. It could create sort of a Rashomon-effect.

4. "Nebraska" -- A first-person point of view from David (Will Forte) on an adventure with his father Woody (Bruce Dern) would be hilarious. David could provide the reader with darkly sarcastic and cynical thoughts about his father’s fantasy of winning the lottery.

5. "The Great Beauty" -- A first person point-of-view from Jep, Toni Servillo’s character, would read beautifully on paper. The reader could have a deep, personal understanding of Jep’s perspective of aging and fulfilling a purpose in life. He could also provide beautiful descriptions of Rome.

6. "Amelie" -- The film is narrated through third-person -- however, Amelie’s personal perspective of the world would be very interesting. Additionally, there could be colorful imagery of France.

7. "Taxi Driver" -- If this was a novel, it would have to be told through a first-person point of view. Not only would Travis’ first-person account on the people in New York be interesting, but also his descriptions of the New York scene. New York, as it is in the film, will be a character in the novel.

8. "Chungking Express" -- Due to the two different story arcs, it would be much easier for it to be written in third person. “He looked at the expiration dates” reads much better than “I read the expiration dates.” I would love to see the crime and romance in this film described in a stream-of-consciousness fashion.

9. "The Tree of Life" -- Obviously, it would have to be told in a third-person point of view because the film goes back to the beginning of time. The thoughts and emotions of the family members could be described in stream-of-consciousness form. Also, the novel would have beautiful imagery of the physical nature around the family. That being said, I imagine “The Tree of Life” written on paper like a William Faulkner novel.

10. "Spirited Away" -- A first-person account of Chihiro’s adventures into the spiritual world of strange but beautiful creatures would be so interesting. When Chihiro’s parents turn into pigs, I can imagine her description of her heart palpitating. The descriptive imagery of the world could be gorgeous.

11. "Juno" -- The title character narrates the film, so it would have to be written in first-person. I’d love to see her sarcastic thoughts regarding the world and the people around her on paper. Also, her personal reflection of how she overcomes her challenges. Because the movie is divided into four seasons, I imagine the book being divided into seasons as well. Each “chapter” could be a different season.

12. "After Life" -- Because this film features interviews between the caseworkers and the dead, frame narratives of the several characters would be very interesting. I even see this written as a stage play.

13. "Dogtooth" -- Because this is a complex thriller, it would be easier to write it in third-person. However, if the novel is narrated in the first-person perspective of each character, it would be interesting to see how the isolated, confined children view the world differently than their overprotective parents.

14. "Eternal Sunshine of the Spotless Mind" -- It would be really funny written in first person, because then Joel, the narrator, would go from knowing Clementine to not knowing Clementine.

15. "Wings of Desire" -- Because this film is called “voyeuristic,” it would read beautifully written in a first-person point of view. The reader can have an understanding of the angel’s perception of himself and the humans around him. The film is in black and white when the protagonist is in angelic form, but in color when he becomes a human. When the angel becomes a human, he could provide descriptions of the visible color in the human world.

16. "Boogie Nights" -- A first-person account from Dirk Diggler on his rise in the adult film industry would resemble the voice over narrations in the films of Martin Scorsese, a major influence on the director of the film, Paul Thomas Anderson.

17. "Persona" -- Ingmar Bergman’s depiction of conflict between nurse and patient could be told in two separate first-person perspectives, the nurse’s and the actress’. This writing style would illustrate the merging of the personas of the two women more interesting.

18. "Two Days One Night" -- A first-person viewpoint from Marion Cotillard’s character Sandra would provide the reader a with a deep understanding of her personal struggle with trying to keep her job.

19. "Children of Heaven" -- I see this written in a close-third person account of the brother and sister. I imagine it reading like Paulo Coelho's “The Alchemist.” There could be strong emphasis on the color and imagery of shoes Ali wants to find for his sister, Zahra. There could also be descriptive imagery of the water Zahra loses her shoes in and the water Ali puts his feet in with the goldfish at the end of the film.

20. "Cars" -- The very first line in the movie is, “Speed. I am speed.” That would be a great opening line of a novel on par with, “Mrs. Dalloway said she would buy the flowers herself” and, “It was the best of times, it was the worst of times.” I would love to see Lightning McQueen’s perspectives of the other cars around him, particularly his sarcastic comments about them. More importantly, I would love to see a personal reflection of himself of a dynamic character developing from an boastful hot-shot race car to an empathetic car who cares about the emotions of others as a result of befriending the cars in Radiator Springs. Additionally, I would love to read the description of the landscapes surrounding the open road in the scene where Lightning goes for a car ride with Sally.