Mike Newell, director of PRINCE OF PERSIA: THE SANDS OF TIME talks about the film in this interview provided by Disney:
QUESTION: Did you reference old films like Korda’s The Thief Of Bagdad as you were making Prince Of Persia: The Sands Of Time?
MIKE NEWELL: I thought about movies that I had seen as a child, though The Thief Of Bagdad wasn’t one of them. But I did think about big cowboy movies that I had seen and obviously the movies of David Lean. With a film like this you know you are doing a genre which is called Bruckheimer and that takes a big canvas to produce and I was very aware of that.
QUESTION: Why did you film in Morocco at a time of the year that everyone advised against going there?
MIKE NEWELL: I’m afraid that is simply how the movies work. If you are going to do a film about the South Pole, the chances are that you will film it in Hawaii! Whatever is most difficult, you will get to do. That is just when everything happened. It was very hot! Some days it was 135 degrees! But it is very dry and so, you lose a lot of weight, which is good. Wet heat is what is exhausting and so I was fine. Also, it must be said, sometimes up in the mountains, we had absolutely torrential rain. Really serious rain, where we had to watch out for water courses getting washed away.
QUESTION: You never used rain in the movie. So did you stop when the weather got bad?
MIKE NEWELL: Yes, we stopped. And we stopped in vast confusion and disorganization – because nobody said it was going to rain! We simply weren’t prepared for it.
QUESTION: How hard was it to adapt the movie from a video game?
MIKE NEWELL: Jordan Mechner [creator of the video game and film scriptwriter] got on very well indeed. The reason was that he was the man who wrote the game and did the first graphic novel, and he is a research freak. He absolutely loves the ancient world and he loves doing his research. So there would be stuff in the story, which would be absolutely authentic – and I enjoyed that very much. It meant that I did not feel overwhelmed by the video game. Jerry Bruckheimer and I talked a lot about what our attitude to the game should be. Were we making the game or were we making a drama? Very clearly we said that we were making a drama. Then what happened was that during the making of the film, we became aware of at least one other new version of the game, which was much more visually sophisticated. I looked at that and I took some moves from that. The other big thing that we decided was that he had to be an action hero. But what were the seeds of what the character in the game does? What we discovered was that what it was about was this thing called parkour. Parkour was developed by the kids in the French housing estates. They would run up walls! So we watched tapes of this very dramatic stuff. In certain moves they do appear to be able to defy gravity…in just the way that the character in the game does. So the parkour people advised us in all sorts of ways. Like for the big sequence where Jake attacks the gate. They choreographed some of that for us, which was very useful. So there was a kind of overlap between parkour, the game and the making of a great big romantic widescreen experience. That was how it came together.
QUESTION: One of the film’s strengths is the comic banter, which seems like The Princess Bride?
MIKE NEWELL: The Princess Bride was one of the films we watched and were aware of. One of the reasons I wanted to make this film is that it is this new genre and Jerry [Bruckheimer] is a genre now. He does what he does. He is Pirates Of The Caribbean and The Rock and Bruce Willis going to defend the world from a crashing meteor. It is always a rich, high coloured mixture. I liked that a lot about the script. I liked that it was funny. I very much enjoy doing that stuff. Fred (Alfred Molina) and I had worked together before and I knew he would be wonderful. Then you do have that uneasy Beatrice and Benedict relationship between the boy and the girl where they absolutely loathe one another and then little by little they fall in love. So what you are doing is to make this great big collage of all sorts of things. It is no one movie. It is an entertainment.
QUESTION: The casting of Jake Gyllenhaal and Gemma Arterton was crucial?
MIKE NEWELL: Yes. Jerry was very generous about that. He asked who I wanted and I told him very clearly that I had always thought about Jake. I wanted him to be American because this was a huge budget movie and the Americans deserve to see their own. At the same time I was encouraged to cast English. I was thinking about going to Bollywood for the girl. I saw a lot of Bollywood actresses. I saw a couple of sensational Iranian actress, an Israeli actress or two. I wanted a kind of exotic look. Then up pops Gemma Arterton from Gravesend, England and she was the one I settled on. I felt very strongly about both leads. Jerry saw them and agreed.
QUESTION: Ben Kingsley is a great villain. Had your paths crossed early in your careers when you both worked on the Uk TV soap, Coronation Street?
MIKE NEWELL: Apparently they did. Neither of us can really remember. But it was about the time that we were both working on the Street. I thought of him for this film because of films like Sexy Beast. I wanted somebody who would be believable as a good guy and would turn out to have this appalling second existence as the bad guy. So it was Gandhi on the one hand and Sexy Beast on the other. He was terrific. He puts out his hand and pulls the kid on to the horse and everything is going to be fine from that moment on. You trust him. Then you discover you must not trust him. I said to him that there were always going to be two movies. The movie that we were making and then the movie that his character was making, which was going to be different. And the one movie would twine round the other.
QUESTION: How did you work the balance between actual filming and the CGI effects?
MIKE NEWELL: This is the second time I have done one of these great big live action versus CG movies. We were in Morocco at the wrong time of the year and people were terrified that we would start to get sick, they were terrified that the level of competence that we would find out there was not as great as we needed. It was in fact superlatively more than we needed. They are really good at what they do out there. They were also afraid that we would get behind, that Morocco would turn into a swamp out of which we could clamber. It did not do that, by virtue of us removing certain sequences out of Morocco and putting them into stages in England. The biggest of those was the attack on the Eastern Gate. Originally we were going to build that part of the city in Morocco and we would then, with CG, have grafted the rest of the city all around it. I can see the magnificent location in my head right now. But we were very worried about the wind. In summer the wind out there gets very boisterous. We were afraid that the whole thing would get blown over and then we would be in Apocalypse Now land. So we decided to shift that out of actual production into CG production. That was a tremendous shift. We made the decision quite late not to shoot for real and so it was something that we were constantly running to catch up with. We always knew that there would be huge SFGX things with the dagger. That was quite clear. But several times what we did was to come out squeaky clean from the physical production by loading on to the CG side of the production. So we were constantly sprinting to catch up.
QUESTION: What is it like making a big film like Prince Of Persia: The Sands Of Time?
MIKE NEWELL: Making a movie like this is like being the Chief Executive of the Ford Motor Corporation. They bring you stuff and say these are our plans for next summer’s SUV. You say can we have it in blue? They reply of course, whatever color you like. And so on. You can see the analogy. These films are so huge that there are two other directors – the second unit director and the visual effects supervisor. The whole thing about what happens when you press the button on the dagger came from one of the visual effects houses in London. They showed us tests and we thought it was terrific.
PRINCE OF PERSIA: THE SANDS OF TIME Available on DVD and Blu-ray 9/14/10
Tuesday, September 14, 2010
Jones Apparel and Adopt-A-Classroom Join the "Waiting for 'Superman'" Cause
ADOPT-A-CLASSROOM AND JONES NEW YORK IN THE CLASSROOM PLEDGE TO DONATE $50,000 TO SCHOOLS IN NEED
Join WaitingforSuperman.com “Pledge Progress Meter” at the 80,000 Pledge Level
HOLLYWOOD, CA (September 13, 2010) – Paramount Pictures, Participant Media and Walden Media jointly announced today Adopt-A-Classroom and Jones New York in the Classroom have joined the WaitingforSuperman.com “Pledge Progress Meter” by committing to donate $50,000 to schools in need once 80,000 people pledge to see the award-winning documentary film WAITING FOR “SUPERMAN.”
"Teachers play a critical role in the success of our schools, our communities and our children," said James Rosenberg, Founder and Executive Director of Adopt-A-Classroom. "We, along with our national sponsor Jones New York In The Classroom, are excited and honored to be affiliated with ‘Waiting for “Superman,”’ a film that should enlighten the country about the many challenges students and teachers confront in the classroom everyday."
Adopt-A-Classroom and Jones New York in the Classroom become the fifth notch on the WaitingforSuperman.com “Pledge Progress Meter.” FirstBook, OfficeMax®, DonorsChoose.org and Houghton Mifflin Harcourt have already committed to making a difference in education by taking the pledge.
WAITING FOR “SUPERMAN” directed by Davis Guggenheim (“An Inconvenient Truth”) will be released under the Paramount Vantage banner and distributed by Paramount Pictures. It examines the crisis of public education in the United States through multiple interlocking stories. Designed to start a national conversation, the movie and corresponding “Take the Pledge” campaign aim to inspire everyone to create innovative and long-term solutions to help change the course of our kids’ lives for the better. The “Pledge Progress Meter” launched in May as a way for non-profits, foundations and corporations to match individual pledge levels with powerful action items aimed at helping both students and public schools.
The film opens in New York and Los Angeles on September 24, nationwide in October.
The film is produced by Lesley Chilcott, with Participant Media’s Jeff Skoll and Diane Weyermann serving as executive producers. It is written by Davis Guggenheim & Billy Kimball.
For more information about the movie, or to take the pledge go to http://www.waitingforsuperman.com/ or text “PLEDGE” to 77177.
To join the conversation visit us on Facebook at http://www.Facebook.com/WaitingForSuperman
What does your school need? Tell us by Tweeting #MySchoolNeeds at http://www.Twitter.com/WaitingSuperman
For more on Adopt-A-Classroom and Jones New York in the Classroom, visit:
http://www.adoptaclassroom.org/
http://www.jnyintheclassroom.org/
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
About Participant Media
Participant Media is a Los Angeles-based entertainment company that focuses on socially relevant, commercially viable feature films, documentaries and television, as well as publishing and digital media. Participant Media is headed by CEO Jim Berk and was founded in 2004 by philanthropist Jeff Skoll, who serves as Chairman. Ricky Strauss is President.
Participant exists to tell compelling, entertaining stories that bring to the forefront real issues that shape our lives. For each of its projects, Participant creates extensive social action and advocacy programs, which provide ideas and tools to transform the impact of the media experience into individual and community action. Participant’s films include The Kite Runner, Charlie Wilson’s War, Darfur Now, An Inconvenient Truth, Good Night, and Good Luck, Syriana, Standard Operating Procedure, The Visitor, The Soloist, Food, Inc., The Informant!, The Cove, The Crazies, Oceans, Furry Vengeance, CASINO JACK and the United States of Money, Countdown to Zero and Waiting for “Superman.”
About Walden Media
Walden Media specializes in entertainment for the whole family. Past award-winning films include: “The Chronicles of Narnia” series, “Journey to the Center of the Earth,” “Nim’s Island” and “Charlotte’s Web.” Upcoming films include the third installment in the Narnia series “The Chronicles of Narnia: The Voyage of the Dawn Treader.”
About Adopt-A-Classroom
Adopt-A-Classroom is a national, award-winning 501(c)(3) nonprofit organization dedicated to supporting classroom teachers and ensuring all children have equal access to a quality education. Since 1998, the organization has raised over $15 million on behalf of classrooms across America. Donations are tax-deductible and 100% is passed through to the teacher. Teachers have the ability to purchase resources that create a more engaging learning environment and also provide valuable new means to inspire children about the wonders of learning. To support a classroom, visit www.adoptaclassroom.org.
About Jones Apparel Group
Jones Apparel Group, Inc. (www.jonesapparel.com) is a leading designer, marketer and wholesaler of branded apparel, footwear and accessories. The Company also markets directly to consumers through its chain of specialty retail and value-based stores and through its e-commerce web sites. The Company's nationally recognized brands include Jones New York, Nine West, Anne Klein, Gloria Vanderbilt, Stuart Weitzman, Robert Rodriguez, Kasper, Bandolino, Easy Spirit, Evan-Picone, l.e.i., Energie, Enzo Angiolini, Joan & David, Mootsies Tootsies, Sam & Libby, Napier, Judith Jack, Albert Nipon and Le Suit. The Company also markets costume jewelry under the Givenchy brand licensed from Givenchy Corporation, women’s footwear under the Dockers® and Dockers® Women brands and infants’, toddlers’ and boys’ footwear (excluding girls’ footwear) under the Dockers® and Dockers® Premium brands, licensed from Levi Strauss & Co., apparel and accessories under the Rachel Roy brand licensed from Rachel Roy IP Company, LLC, and Jessica Simpson jeanswear licensed from VCJS LLC. Each brand is differentiated by its own distinctive styling, pricing strategy, distribution channel and target consumer. The Company contracts for the manufacture of its products through a worldwide network of quality manufacturers. The Company has capitalized on its nationally known brand names by entering into various licenses for several of its trademarks, including Jones New York, Anne Klein New York, Nine West, Gloria Vanderbilt, l.e.i. and Evan-Picone, with select manufacturers of women's and men's products which the Company does not manufacture. For more than 35 years, the Company has built a reputation for excellence in product quality and value, and in operational execution.
Jerry Bruckheimer on Prince of Persia and Producing
Super producer Jerry Bruckheimer talks about PRINCE OF PERSIA: THE SANDS OF TIME in this interview provided by Disney:
QUESTION: You must get loads of film ideas pitched to you. What was the appeal of doing Prince Of Persia: The Sands Of Time?
JERRY BRUCKHEIMER: Ithink it’s a throwback to old movies, to Lawrence of Arabia. I love the old David Lean films and this is a fantasy version of it. Jordan [Mechner] did such a wonderful job, the game is so successful, and they gave us such a wonderful pitch that we fell in love with it.
QUESTION: Did you all play the game yourself? And will there be sequels?
JERRY BRUCKHEIMER: I had played the game prior to Jordan [Mechner] coming in, but not the one that he talked about when he first created it. It was a much more recent version of it.
QUESTION: How do you see your role on a movie, when you’re referred to as the most powerful man in Hollywood?
JERRY BRUCKHEIMER: That’s fiction by the media, it’s not really true. We just try to have a set that runs smoothly, where people can have a good time even though they’re working very hard. I think that’s because Mike and our actors handled the set so well. Everybody had a good time, and that’s what it’s about.
QUESTION: Was there ever a desire to make Prince Of Persia: The Sands Of Time in 3D? And how do you feel about the 3D revolution?
JERRY BRUCKHEIMER: I think we talked about it briefly, but Avatar hadn’t come out, so we couldn’t see the impact 3D would have. Plus Avatar was done all on a soundstage, pretty much, in a hangar and this picture was done in Morocco, the majority of it. So it was much more difficult, with the two cameras and the sand and the heat. But 3D is here to stay, it’s taking over cinema.
QUESTION: How do you feel looking back over your career – does it give you a sense of pride to think that you’re the man who made Top Gun?
JERRY BRUCKHEIMER: No, I always worry about the next one. It’s never the past. You learn from the past but I worry about this one and Sorcerer’s Apprentice, which is coming up next, and the next Pirates Of The Caribbean is about to start. So I’m always looking way beyond. I don’t look back too much. Maybe someday when I’m in a retirement home somewhere I’ll think ‘Oh wow, I did all these things?’. But not now.
QUESTION: It is said that you have 17 films in various stages of production, plus all your TV work. How do you manage to do all that you do and maintain the standard?
JERRY BRUCKHEIMER: It comes down to working with really talented people, this is a great example of the talent that we create. We create the same kind of talent behind the cameras, so we have a lot of people in our company who are enormously talented. And then the show owners in television run their business along with our executives. So it’s just finding great people to work with.
PRINCE OF PERSIA: THE SANDS OF TIME Available on DVD and Blu-ray 9/14/10
QUESTION: You must get loads of film ideas pitched to you. What was the appeal of doing Prince Of Persia: The Sands Of Time?
JERRY BRUCKHEIMER: Ithink it’s a throwback to old movies, to Lawrence of Arabia. I love the old David Lean films and this is a fantasy version of it. Jordan [Mechner] did such a wonderful job, the game is so successful, and they gave us such a wonderful pitch that we fell in love with it.
QUESTION: Did you all play the game yourself? And will there be sequels?
JERRY BRUCKHEIMER: I had played the game prior to Jordan [Mechner] coming in, but not the one that he talked about when he first created it. It was a much more recent version of it.
QUESTION: How do you see your role on a movie, when you’re referred to as the most powerful man in Hollywood?
JERRY BRUCKHEIMER: That’s fiction by the media, it’s not really true. We just try to have a set that runs smoothly, where people can have a good time even though they’re working very hard. I think that’s because Mike and our actors handled the set so well. Everybody had a good time, and that’s what it’s about.
QUESTION: Was there ever a desire to make Prince Of Persia: The Sands Of Time in 3D? And how do you feel about the 3D revolution?
JERRY BRUCKHEIMER: I think we talked about it briefly, but Avatar hadn’t come out, so we couldn’t see the impact 3D would have. Plus Avatar was done all on a soundstage, pretty much, in a hangar and this picture was done in Morocco, the majority of it. So it was much more difficult, with the two cameras and the sand and the heat. But 3D is here to stay, it’s taking over cinema.
QUESTION: How do you feel looking back over your career – does it give you a sense of pride to think that you’re the man who made Top Gun?
JERRY BRUCKHEIMER: No, I always worry about the next one. It’s never the past. You learn from the past but I worry about this one and Sorcerer’s Apprentice, which is coming up next, and the next Pirates Of The Caribbean is about to start. So I’m always looking way beyond. I don’t look back too much. Maybe someday when I’m in a retirement home somewhere I’ll think ‘Oh wow, I did all these things?’. But not now.
QUESTION: It is said that you have 17 films in various stages of production, plus all your TV work. How do you manage to do all that you do and maintain the standard?
JERRY BRUCKHEIMER: It comes down to working with really talented people, this is a great example of the talent that we create. We create the same kind of talent behind the cameras, so we have a lot of people in our company who are enormously talented. And then the show owners in television run their business along with our executives. So it’s just finding great people to work with.
PRINCE OF PERSIA: THE SANDS OF TIME Available on DVD and Blu-ray 9/14/10
Monday, September 13, 2010
Sofia Coppola's "Somewhere" Wins Best Picture at 2010 Venice Film Festival
Results of 67th Venice International Film Festival (September 11, 2010):
Leone d'Oro (Golden Lion) for the best film: Somewhere by Sofia Coppola
Leone d'Argento (Silver Lion) for the best director: Álex de la Iglesia for Balada triste de trompeta (A Sad Trumpet Ballad)
Special Jury Prize: Essential Killing by Jerzy Skolimowski
Coppa Volpi for the Best Actor: Vincent Gallo, for Essential Killing
Coppa Volpi for the Best Actress: Ariane Labed, for Attenberg
Premio Marcello Mastroianni, for the best emerging actor or actress: Mila Kunis for Black Swan
Osella for Best Cinematography: Mikhail Krichman for Ovsyanki (Silent Souls)
Osella for Best Screenplay: Álex de la Iglesia for Balada triste de trompeta (A Sad Trumpet Ballad)
Special Lion for Overall Work: Monte Hellman
"Luigi de Laurentis" Award for a Debut Film: Cogunluk (Majority) by Seren Yüce
Leone d'Oro (Golden Lion) for the best film: Somewhere by Sofia Coppola
Leone d'Argento (Silver Lion) for the best director: Álex de la Iglesia for Balada triste de trompeta (A Sad Trumpet Ballad)
Special Jury Prize: Essential Killing by Jerzy Skolimowski
Coppa Volpi for the Best Actor: Vincent Gallo, for Essential Killing
Coppa Volpi for the Best Actress: Ariane Labed, for Attenberg
Premio Marcello Mastroianni, for the best emerging actor or actress: Mila Kunis for Black Swan
Osella for Best Cinematography: Mikhail Krichman for Ovsyanki (Silent Souls)
Osella for Best Screenplay: Álex de la Iglesia for Balada triste de trompeta (A Sad Trumpet Ballad)
Special Lion for Overall Work: Monte Hellman
"Luigi de Laurentis" Award for a Debut Film: Cogunluk (Majority) by Seren Yüce
Jordan Mechner Talks History of "Prince of Persia"
Jordan Mechner is the creator of the video game, Prince of Persia, and one of the writers of the film, PRINCE OF PERSIA: THE SANDS OF TIME. Walt Disney, through its press representatives, provided this interview with Mechner:
QUESTION: What were your feelings when you finally saw the film?
JORDAN MECHNER: Firstly the original Prince Of Persia was a character 40 pixels high on the Apple II screen, running and jumping. The technology at the time was quite primitive, I think in my mind I imagined a much grander spectacle, and to see Jake [Gyllenhaal] in the best shape of his life running around the rooftops of Morocco and doing parkour and all this stuff was more than I could imagine.
QUESTION: What initially drew you to the setting of Ancient Persia? And how does that culture and mythology inspire you?
Mechner: “I was inspired 25 years ago to make the game really by the tales of the Arabian Nights, and by old Persian legends like the Shahnameh, the Persian Book of Kings. And also those great old Hollywood swashbuckling movies like the 1940 Thief of Baghdad, by Alexander Korda. As a kid I must have heard those stories, the storybook versions are in all of our cultural DNA. We know of that world without really knowing exactly where or when we first heard it.
QUESTION: How did you start the world of Prince Of Persia?
JORDANMECHNER: You go back to 1985 when I was right out of college and I took my brother down to the parking lot across the street from the high school. He was in a pair of baggy trousers and I had him run and jump and climb and fall down and I video-taped him doing these moves. Then I set about the three year process of bringing these animations into the computer and that was the first Prince Of Persia.
QUESTION: How successful was the game and how come it has taken so long for the movie to be made?
JORDAN MECHNER: It was successful. This was in those days when the industry was one tenth of the size that it is now. It was very much a fringe thing. My friends and I who liked to play games were geeks. We were not in the cultural mainstream. What has happened since then is that video games have evolved technologically and culturally. So we finally came to the point, years later, where a producer and director of the stature of Jerry Bruckheimer and Mike Newell would look at a video game as something worth considering.
QUESTION: Since it started as a video game Prince Of Persia has grown, hasn’t it?
JORDAN MECHNER: Prince Of Persia from its first game has become a franchise. So there are now at least seven or eight versions of the game since then. The one that the movie is based on is also called Prince Of Persia: The Sands Of Time. That is the first modern console game. It reinvented the old Prince Of Persia game for a new generation of gamers. That was in 2003 and at that point I brought Jerry Bruckheimer and Disney the pitch for the movie along with a two minute trailer that I cut together on my Mac. The screenplay that I wrote is loosely based on The Sands Of Time but the movie production drew on all of those games that came out since then – like Warrior Within. And not just for story…also costumes, weapons, physical action and production design. The whole movie making team was influenced by the games at many levels.
QUESTION: Are you a fan of ancient history?
JORDAN MECHNER: I love research, that’s one of the great perks of this great line of work. You get the chance to go back and try and figure out what things were like in a different time and place. You also get to read the great mythological sources of legends like the Persian Book Of Kings. So you take all that and try to bring it to life.
QUESTION: Why until now have attempts to turn games into movies floundered?
JORDAN MECHNER: It is hard to make a good movie…period! And to make a movie based on a video game is particularly tricky. Novels and stage plays and other things that you might adapt into a movie, really begin with a story and characters. Video games really begin with the game play, that is with the player’s experience – controlling the character and facing the challenges of the game. And that is the one aspect of the game that doesn’t translate to film. No matter how you do it, you are never going to have that attractive element and things that are fun to play are not necessarily fun to watch an actor doing on screen. Prince Of Persia: The Sands Of Time is the first time that a video game creator actually adapted their own game as a screen play. Even though I have just spent a year adapting the game version of The Sands Of Time, I had to set that aside and put on a different hat and take a different approach to that story, because I was writing a story that was going to be watched by an audience. As opposed to be played.
QUESTION: Was it hard to write a film after doing games?
JORDAN MECHNER: I wouldn’t say that a games story needs to be less complex than a movie story. I am very proud of The Sands Of Time game. It has an interesting relationship between the main characters. There is a romance and a banter and there is a voice over narration. So not only are you playing the game but you are also hearing it narrated. There is a counterpoint between what you are hearing and what you are seeing which is very interesting. It is almost like a literary kind of effect. So it is not that one is more complex than the other, it’s just that they are different. It goes back to the fact that games are played and movies are watched. Even in this case where it is the same world, the same characters and the same type of genre and the same emotional themes – in both the game and the movie – the specifics of how the story is translated into scenes has to be different. The difference in translating a game into a movie is even greater than if you were turning a stage play into a movie. You have to take that extra step of figuring what is it about the material that is going to make a good story; that the viewers are going to connect with emotionally.
QUESTION: Did you have in mind the fact that the characters in the movie are playing games with each other?
JORDAN MECHNER: Of course, we set out to make a movie for audiences that didn’t play games but at the same time, for gamers the movie is full of things that they can enjoy on another level.
QUESTION: What did you think of the cast?
JORDAN MECHNER: Mike Newell put together a fantastic cast. Jake Gyllenhaal makes a terrific prince. He is a very good actor but he also has the right spirit – besides being a warrior and in the best shape of his life, he has got a humanity that is really important.
QUESTION: Are you a fan of DVD?
JORDAN MECHNER: I have a pretty substantial DVD collection which now needs to be a Blu-ray collection. I love all kinds of movies. My favorites include Hitchcock’s North By Northwest, David Lean’s Dr Zhivago and Lawrence Of Arabia…Raiders Of The Lost Ark and then all the old films that influenced Raiders, like Alexander Korda’s Thief of Bagdad. And Kurosawa’s The Seven Samurai is one of my all-time favourites.
QUESTION: Are you a Disney fan?
JORDAN MECHNER: Since I was a kid, growing up in New York, I had a map of Disneyland on my wall. I had never been there but I knew where all the rides were. Now that Prince Of Persia is a Disney movie that is really wonderful. If Prince Of Persia was one day to become a Disney ride that would be a dream come true.
QUESTION: How emotional was it for you when you saw Prince Of Persia: The Sands Of Time for the first time?
JORDAN MECHNER: Oh my gosh there have been so many moments along the way – from the last six years, going from script to screen. Setting foot on the set in Morocco was one of them. And seeing the movie and getting an idea of how it would be experienced by an audience was a huge thrill.
QUESTION: You could never have dreamed of anything like this when you filmed your brother in baggy pants for the first game all those years ago?
JORDAN MECHNER: No, I was just worried about finishing the game while there was still a computer games market! I was afraid I would be too late. It is pretty mind boggling to me that we are still talking about Prince Of Persia 25 years later.
PRINCE OF PERSIA: THE SANDS OF TIME Available on DVD and Blu-ray 9/14/10
QUESTION: What were your feelings when you finally saw the film?
JORDAN MECHNER: Firstly the original Prince Of Persia was a character 40 pixels high on the Apple II screen, running and jumping. The technology at the time was quite primitive, I think in my mind I imagined a much grander spectacle, and to see Jake [Gyllenhaal] in the best shape of his life running around the rooftops of Morocco and doing parkour and all this stuff was more than I could imagine.
QUESTION: What initially drew you to the setting of Ancient Persia? And how does that culture and mythology inspire you?
Mechner: “I was inspired 25 years ago to make the game really by the tales of the Arabian Nights, and by old Persian legends like the Shahnameh, the Persian Book of Kings. And also those great old Hollywood swashbuckling movies like the 1940 Thief of Baghdad, by Alexander Korda. As a kid I must have heard those stories, the storybook versions are in all of our cultural DNA. We know of that world without really knowing exactly where or when we first heard it.
QUESTION: How did you start the world of Prince Of Persia?
JORDANMECHNER: You go back to 1985 when I was right out of college and I took my brother down to the parking lot across the street from the high school. He was in a pair of baggy trousers and I had him run and jump and climb and fall down and I video-taped him doing these moves. Then I set about the three year process of bringing these animations into the computer and that was the first Prince Of Persia.
QUESTION: How successful was the game and how come it has taken so long for the movie to be made?
JORDAN MECHNER: It was successful. This was in those days when the industry was one tenth of the size that it is now. It was very much a fringe thing. My friends and I who liked to play games were geeks. We were not in the cultural mainstream. What has happened since then is that video games have evolved technologically and culturally. So we finally came to the point, years later, where a producer and director of the stature of Jerry Bruckheimer and Mike Newell would look at a video game as something worth considering.
QUESTION: Since it started as a video game Prince Of Persia has grown, hasn’t it?
JORDAN MECHNER: Prince Of Persia from its first game has become a franchise. So there are now at least seven or eight versions of the game since then. The one that the movie is based on is also called Prince Of Persia: The Sands Of Time. That is the first modern console game. It reinvented the old Prince Of Persia game for a new generation of gamers. That was in 2003 and at that point I brought Jerry Bruckheimer and Disney the pitch for the movie along with a two minute trailer that I cut together on my Mac. The screenplay that I wrote is loosely based on The Sands Of Time but the movie production drew on all of those games that came out since then – like Warrior Within. And not just for story…also costumes, weapons, physical action and production design. The whole movie making team was influenced by the games at many levels.
QUESTION: Are you a fan of ancient history?
JORDAN MECHNER: I love research, that’s one of the great perks of this great line of work. You get the chance to go back and try and figure out what things were like in a different time and place. You also get to read the great mythological sources of legends like the Persian Book Of Kings. So you take all that and try to bring it to life.
QUESTION: Why until now have attempts to turn games into movies floundered?
JORDAN MECHNER: It is hard to make a good movie…period! And to make a movie based on a video game is particularly tricky. Novels and stage plays and other things that you might adapt into a movie, really begin with a story and characters. Video games really begin with the game play, that is with the player’s experience – controlling the character and facing the challenges of the game. And that is the one aspect of the game that doesn’t translate to film. No matter how you do it, you are never going to have that attractive element and things that are fun to play are not necessarily fun to watch an actor doing on screen. Prince Of Persia: The Sands Of Time is the first time that a video game creator actually adapted their own game as a screen play. Even though I have just spent a year adapting the game version of The Sands Of Time, I had to set that aside and put on a different hat and take a different approach to that story, because I was writing a story that was going to be watched by an audience. As opposed to be played.
QUESTION: Was it hard to write a film after doing games?
JORDAN MECHNER: I wouldn’t say that a games story needs to be less complex than a movie story. I am very proud of The Sands Of Time game. It has an interesting relationship between the main characters. There is a romance and a banter and there is a voice over narration. So not only are you playing the game but you are also hearing it narrated. There is a counterpoint between what you are hearing and what you are seeing which is very interesting. It is almost like a literary kind of effect. So it is not that one is more complex than the other, it’s just that they are different. It goes back to the fact that games are played and movies are watched. Even in this case where it is the same world, the same characters and the same type of genre and the same emotional themes – in both the game and the movie – the specifics of how the story is translated into scenes has to be different. The difference in translating a game into a movie is even greater than if you were turning a stage play into a movie. You have to take that extra step of figuring what is it about the material that is going to make a good story; that the viewers are going to connect with emotionally.
QUESTION: Did you have in mind the fact that the characters in the movie are playing games with each other?
JORDAN MECHNER: Of course, we set out to make a movie for audiences that didn’t play games but at the same time, for gamers the movie is full of things that they can enjoy on another level.
QUESTION: What did you think of the cast?
JORDAN MECHNER: Mike Newell put together a fantastic cast. Jake Gyllenhaal makes a terrific prince. He is a very good actor but he also has the right spirit – besides being a warrior and in the best shape of his life, he has got a humanity that is really important.
QUESTION: Are you a fan of DVD?
JORDAN MECHNER: I have a pretty substantial DVD collection which now needs to be a Blu-ray collection. I love all kinds of movies. My favorites include Hitchcock’s North By Northwest, David Lean’s Dr Zhivago and Lawrence Of Arabia…Raiders Of The Lost Ark and then all the old films that influenced Raiders, like Alexander Korda’s Thief of Bagdad. And Kurosawa’s The Seven Samurai is one of my all-time favourites.
QUESTION: Are you a Disney fan?
JORDAN MECHNER: Since I was a kid, growing up in New York, I had a map of Disneyland on my wall. I had never been there but I knew where all the rides were. Now that Prince Of Persia is a Disney movie that is really wonderful. If Prince Of Persia was one day to become a Disney ride that would be a dream come true.
QUESTION: How emotional was it for you when you saw Prince Of Persia: The Sands Of Time for the first time?
JORDAN MECHNER: Oh my gosh there have been so many moments along the way – from the last six years, going from script to screen. Setting foot on the set in Morocco was one of them. And seeing the movie and getting an idea of how it would be experienced by an audience was a huge thrill.
QUESTION: You could never have dreamed of anything like this when you filmed your brother in baggy pants for the first game all those years ago?
JORDAN MECHNER: No, I was just worried about finishing the game while there was still a computer games market! I was afraid I would be too late. It is pretty mind boggling to me that we are still talking about Prince Of Persia 25 years later.
PRINCE OF PERSIA: THE SANDS OF TIME Available on DVD and Blu-ray 9/14/10
"Waiting for 'Superman'" Attracts More Pledges
60,000 PEOPLE PLEDGE TO SEE “WAITING FOR ‘SUPERMAN’”
First Book and Houghton Mifflin Harcourt donate an additional $100,000 worth of new books to schools in need – fourth benchmark met on WaitingForSuperman.com “Pledge Progress Meter”
HOLLYWOOD, Calif. — Sept. 9, 2010 — Paramount Pictures, Participant Media and Walden Media announced today 60,000 people have pledged to see the award-winning documentary film WAITING FOR “SUPERMAN” when it opens this fall, making it the fourth goal reached on the campaign’s “Pledge Progress Meter.” As a result, First Book and global education leader Houghton Mifflin Harcourt (HMH) will distribute an additional $100,000 worth of new books to schools and programs in low-income communities across the country. First Book and HMH initially joined forces at the 50,000 level by donating 250,000 new books in a similar fashion. The books will be generously provided by HMH and distributed through First Book’s award-winning book distribution channels.
“We’re thrilled by the opportunity to continue our support of WAITING FOR ‘SUPERMAN,’” said Barry O’Callaghan, HMH’s Chief Executive Officer. “Together with First Book, we can use this opportunity to put better educational resources in the hands of the nation’s teachers and students.”
WAITING FOR “SUPERMAN” directed by Davis Guggenheim (“An Inconvenient Truth”) will be released under the Paramount Vantage banner and distributed by Paramount Pictures. It examines the crisis of public education in the United States through multiple interlocking stories. Designed to start a national conversation, the movie and corresponding “Take the Pledge” campaign aim to inspire everyone to create innovative and long-term solutions to help change the course of our kids’ lives for the better.
The “Pledge Progress Meter” launched in May as a way for non-profits, foundations and corporations to match individual pledge levels with powerful action items aimed at helping both students and public schools. First Book was the first organization to take the pledge.
The film opens in New York and Los Angeles on September 24, nationwide in October.
The film is produced by Lesley Chilcott, with Participant Media’s Jeff Skoll and Diane Weyermann serving as executive producers. It is written by Davis Guggenheim & Billy Kimball.
For more information about the movie, or to take the pledge go to http://www.waitingforsuperman.com/ or text “PLEDGE” to 77177
To join the conversation visit us on Facebook at http://www.Facebook.com/WaitingForSuperman
What does your school need? Tell us by Tweeting #MySchoolNeeds at http://www.Twitter.com/WaitingSuperman
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
About Participant Media
Participant Media is a Los Angeles-based entertainment company that focuses on socially relevant, commercially viable feature films, documentaries and television, as well as publishing and digital media. Participant Media is headed by CEO Jim Berk and was founded in 2004 by philanthropist Jeff Skoll, who serves as Chairman. Ricky Strauss is President.
Participant exists to tell compelling, entertaining stories that bring to the forefront real issues that shape our lives. For each of its projects, Participant creates extensive social action and advocacy programs, which provide ideas and tools to transform the impact of the media experience into individual and community action. Participant’s films include The Kite Runner, Charlie Wilson’s War, Darfur Now, An Inconvenient Truth, Good Night, and Good Luck, Syriana, Standard Operating Procedure, The Visitor, The Soloist, Food, Inc., The Informant!, The Cove, The Crazies, Oceans, Furry Vengeance, CASINO JACK and the United States of Money, Countdown to Zero and Waiting for “Superman.”
About Walden Media
Walden Media specializes in entertainment for the whole family. Past award-winning films include: “The Chronicles of Narnia” series, “Journey to the Center of the Earth,” “Nim’s Island” and “Charlotte’s Web.” Upcoming films include the third installment in the Narnia series “The Chronicles of Narnia: The Voyage of the Dawn Treader.”
About First Book
First Book provides new books to children in need addressing one of the most important factors affecting literacy – access to books. An innovative leader in social enterprise, First Book has distributed 70 million free and low cost books in thousands of communities. First Book has offices in the U.S. and Canada. For more information, please visit www.firstbook.org.
About Houghton Mifflin Harcourt
Houghton Mifflin Harcourt is a global education and learning company that is leading the way with innovative solutions and approaches to the challenges facing education today. The world's largest provider of educational products and solutions for pre-K–12 learning, Houghton Mifflin Harcourt develops and delivers interactive, results-driven learning solutions that advance teacher effectiveness and student achievement. Through curricula excellence and technology innovation, Houghton Mifflin Harcourt collaborates with school districts, administrators, teachers, parents and students. With origins dating back to 1832, the Company also publishes an extensive line of reference works and award-winning literature for adults and young readers. For more information, visit www.hmhpub.com .
Sunday, September 12, 2010
Review: "Resident Evil: Afterlife" is Quite Lively
Resident Evil: Afterlife (2010)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R for sequences of strong violence and language
DIRECTOR: Paul W.S. Anderson
WRITER: Paul W.S. Anderson (based upon the videogame Resident Evil)
PRODUCERS: Paul W.S. Anderson, Jeremy Bolt, and Samuel Hadida
CINEMATOGRAPHER: Glen MacPherson
EDITOR: Niven Howie
COMPOSER: tomandandy
HORROR/SCI-FI/ACTION
Starring: Milla Jovovich, Ali Larter, Wentworth Miller, Kim Coates, Shawn Roberts, Boris Kodjoe, Sergio Peris-Mencheta, Spencer Locke, Kacey Barnfield, Norman Yeung, Fulvio Cecere, and Sienna Guillory
Watching the opening act of Resident Evil: Afterlife, I found so many of the action scenes derivative of The Matrix trilogy and even the 2006 film, Ultraviolet, which features the star of the Resident Evil films, Milla Jovovich. But that’s okay; Inception “borrowed” from The Matrix and that did not affect the film’s box office or critical reception. [Afterlife was also released in 3D, but I saw it in traditional D.]
Anyway, Afterlife is the fourth movie in the film series based upon the Resident Evil videogame franchise. In Resident Evil, a pathogen called the “T-virus” escaped into the outside world and led to an apocalypse which turned most of humanity into Undead hordes. As Afterlife begins, Resident Evil heroine, Alice (Milla Jovovich) launches an assault against an Umbrella Corporation stronghold in Tokyo in an attempt to kill primary Resident Evil nemesis, Albert Wesker (Shawn Roberts).
Then, Alice begins the search for the friends she made in the previous film, Resident Evil: Extinction, but she only finds Claire Redfield (Ali Larter). The promise of the safe haven known as Arcadia takes Alice and Claire to Los Angeles, where they find a small band of survivors, including a suspicious soldier (Wentworth Miller) and Luther West (Boris Kodjoe), a celebrity and former professional basketball player. The city, however, is overrun by thousands of Undead, and Alice wonders if she has flown into a trap.
As much as the Resident Evil films deal with cannibalism in the form of zombies eating humans, the franchise also cannibalizes other horror, science fiction, and science fiction/horror films. So much of Afterlife, like its predecessors, seems so familiar, that I often spend my time recognizing scenes in this film as being like scenes from other movies.
That’s OK. It doesn’t matter how derivative Afterlife is as long as viewers can enjoy it, and I enjoyed this one more than I enjoyed the other sequels. In fact, I found Afterlife to be the best since the first film in 2002.
Practically everything that writer/director Paul W.S. Anderson does in Afterlife, whether they are his own ideas or borrowed, look good. This is a movie full of well-staged action scenes, and Anderson buries his audience in enough tension and the anticipation of impending doom that they won’t be able to spend much time nitpicking. Plus, that pumping score and soundtrack from the delectable tomandandy make even Afterlife’s mundane moments seem like the height of drama.
One thing that is different in Afterlife is that Anderson’s script is laser-focused on the motivations of each and every character – from the main player, Alice, to a minor character named Wendell (Fulvio Cecere), who tries to turn Alice taking a shower into his own private peep show. Character motivation makes the action, drama, and plots matter, and when those matter, the audience is interested in what comes next.
Resident Evil: Afterlife offers plenty of cool fight scenes, horror movie gore, wicked monsters, etc., but this is also a horror survival movie that will make you care about the poor humans as much as you do the creatures and special effects. Cool, Resident Evil post-apocalypse finally meets character drama.
7 of 10
B+
Sunday, September 12, 2010
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