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According to MOP writer/director, Rawson Marshall Thurber, "in the novel, there's this sort of a four-pointed love rhombus--for lack of a better term--between Art, Arthur, Phlox and Cleveland. I felt strongly that in order for the film to function properly, it needed a more efficient and more cinematic engine--in short, a love triangle. So I eliminated Arthur from the narrative and folded in important elements of his character into Cleveland's and moved from there. I think the result really gives the story the momentum needed in the medium."
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