Peter Jackson on the Halo Movie
From AintItCoolNews, the third part of an interview with Jackson:
We certainly didn't set out with HALO to find a first time filmmaker to do HALO. We wanted somebody on HALO that would have 3 qualities. One, a very important one, is that they wanted to do it really badly. They had to be absolute HALO fans. That was important because there are a lot of people who would be happy to do HALO for the paycheck, there's a lot of people who would be happy to do it for the publicity they're going to get from it and the kick it'll give to their career and all that and all of that sort of stuff. There's lots of reasons to do HALO that would be attractive if you're not a HALO fan, but we didn't want any of those people, we wanted somebody who was a real HALO fan.
Secondly, and this is sort of just as important, we wanted somebody who was going to bring a unique vision to it. It's so easy to shut your eyes and imagine a really bad version of HALO. That comes to you in a frightenly simple, quick way. You think, "Oh, my God! This could be so terrible!" I guess it's because so many other video game movies have been terrible and so much other sci-fi in that type of genre has been terrible.
It's like Fantasy was before LORD OF THE RINGS. Everybody was saying, "These films aren't any good." In a sense, everybody's saying "You can't make a good film out of a game." Well, that's all crap. Good films just need good characters, good storyline and a great director to bring it to life and make a film that you've never seen before. That's what it needs. It doesn't matter a damn whether it's based on a game, a book or a piece of chewing gum, you know? That's irrelevant. It's what actually ends up on the screen that's important.
So, we wanted a director who we would get excited about their version of HALO. We wanted somebody that would make us say, "God, I'd love to see what this person would do with this story, with this material." We considered a lot of directors. A lot of directors came to us. I mean, believe me... we waited for months and months and months. We eschewed a couple of people which didn't work out. We've had lots and lots of people approaching us, obviously agents and people saying "So and so client would love to do it."
At all times they were people that we thought, "Well... their version of HALO doesn't really excite me all that much. I could imagine what it'd be like and it doesn't really (excite me)." But then when Neill came along and we saw what he'd done and we'd spoken to him... believe me, he's doing something that is very, very different from what people are imagining, from what people have seen before. Some of the visuals... He's been working with Weta pretty much full time for, I guess it'd be about 2 months now, turning out lots and lots of art every day. And maquettes, production design, color art has been coming out of there. I've got folders and folders of it at home here. It's fantastic stuff. I mean, I look through it and I get excited about the film.
We're still developing a script and we've still got work to go on the script and that's underway, but while that's happening Neill is just producing his vision of this world. It is original and new and has not been seen before on the screen. It's not Ridley Scott, it's not James Cameron, it's not what we've seen before, but it's something new and fresh and it's cool. That was important to us. Someone who was going to not go the cliched way, but go in the direction that they had an original vision for and Neill has got that in spades. We're feeling really, really good.
We certainly didn't set out with HALO to find a first time filmmaker to do HALO. We wanted somebody on HALO that would have 3 qualities. One, a very important one, is that they wanted to do it really badly. They had to be absolute HALO fans. That was important because there are a lot of people who would be happy to do HALO for the paycheck, there's a lot of people who would be happy to do it for the publicity they're going to get from it and the kick it'll give to their career and all that and all of that sort of stuff. There's lots of reasons to do HALO that would be attractive if you're not a HALO fan, but we didn't want any of those people, we wanted somebody who was a real HALO fan.
Secondly, and this is sort of just as important, we wanted somebody who was going to bring a unique vision to it. It's so easy to shut your eyes and imagine a really bad version of HALO. That comes to you in a frightenly simple, quick way. You think, "Oh, my God! This could be so terrible!" I guess it's because so many other video game movies have been terrible and so much other sci-fi in that type of genre has been terrible.
It's like Fantasy was before LORD OF THE RINGS. Everybody was saying, "These films aren't any good." In a sense, everybody's saying "You can't make a good film out of a game." Well, that's all crap. Good films just need good characters, good storyline and a great director to bring it to life and make a film that you've never seen before. That's what it needs. It doesn't matter a damn whether it's based on a game, a book or a piece of chewing gum, you know? That's irrelevant. It's what actually ends up on the screen that's important.
So, we wanted a director who we would get excited about their version of HALO. We wanted somebody that would make us say, "God, I'd love to see what this person would do with this story, with this material." We considered a lot of directors. A lot of directors came to us. I mean, believe me... we waited for months and months and months. We eschewed a couple of people which didn't work out. We've had lots and lots of people approaching us, obviously agents and people saying "So and so client would love to do it."
At all times they were people that we thought, "Well... their version of HALO doesn't really excite me all that much. I could imagine what it'd be like and it doesn't really (excite me)." But then when Neill came along and we saw what he'd done and we'd spoken to him... believe me, he's doing something that is very, very different from what people are imagining, from what people have seen before. Some of the visuals... He's been working with Weta pretty much full time for, I guess it'd be about 2 months now, turning out lots and lots of art every day. And maquettes, production design, color art has been coming out of there. I've got folders and folders of it at home here. It's fantastic stuff. I mean, I look through it and I get excited about the film.
We're still developing a script and we've still got work to go on the script and that's underway, but while that's happening Neill is just producing his vision of this world. It is original and new and has not been seen before on the screen. It's not Ridley Scott, it's not James Cameron, it's not what we've seen before, but it's something new and fresh and it's cool. That was important to us. Someone who was going to not go the cliched way, but go in the direction that they had an original vision for and Neill has got that in spades. We're feeling really, really good.
Labels: Movies
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