Production Underway on “Ender’s Game”

Posted on May 30, 2012 at 8:00 am

Orson Scott Card’s sci-fi classic Ender’s Game is the story of a gifted child who is taken from his family at age 6 so that he can be trained to lead the Earth’s military forces against “bugger” aliens who have twice attacked our planet.  The winner of Hugo and Nebula awards, the book has been a classic since it was first published in 1985 and speculation about a possible movie version began almost immediately.  It’s finally happening with writer/director Gavin Hood (“Tsotsi”) and scheduled for release in November 2013 with Harrison Ford as Commander Graff, “Hugo’s” Asa Butterfield as Ender Wiggin, and Abigail Breslin will play Ender’s sister Valentine.  Cinema Blend has some intriguing details about the “Ender’s Game” production courtesy of producer Roberto Orci.  Everyone is curious about

how the film team would be “approaching the great deal of wonderful internal monologue.” It becomes pretty clear in the book that Ender isn’t a big talker. He’s a thinker (and a really good one), and he also proves to be especially emotional and empathetic, which affects the choices he makes as a budding leader and among his peers. A big part of what makes the book so great isn’t merely seeing what Ender does, it’s understanding why he does it and how he makes his choices. Not all of that is expressed through dialogue, so this is a really good question. And Orci has a really good answer to go with it. It starts with a muppet… 

“We have a muppet of the Colonel who narrates the whole thing from the future.  Oh, no wait, different movie.  I joke because that is a great question and I think Gavin would tell you that it was the biggest challenge he faced in composing his script.  It was also the most challenging aspect of the casting process.  So here we have two things that really make it happen.  First, we got such an unbelievable group of actors who can convey so much with their faces and body language… frankly, with their performances, which is something a book is denied using to convey inner emotion or thought.  And secondly, of course, Gavin elegantly translated some of the inner thought into action or character decisions in his script — drama — and that allowed him to find natural places for the characters to speak about what they are going through.”

Orci is providing more information via his Tumblr blog.

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Based on a book Behind the Scenes Science-Fiction

A New “Eleanor Rigby” Double Feature

Posted on May 21, 2012 at 10:44 pm

James MacAvoy (“X-Men: First Class”) and Jessica Chastain (“Tree of Life”) will star in not one but two new movies.  This will not be an original and a sequel.  This  will be two movies telling the same story about a married couple in New York but one will be from his point of view and one will be from hers.  Something similar was attempted in 1973 with a pair of made-for-television movies starring then-married Richard Burton and Elizabeth Taylor and titled Divorce: His and Divorce: Hers.  These movies will be called “The Disappearance of Eleanor Rigby: Him” and “The Disappearance of Eleanor Rigby: Her.” Very intriguing, though I wish writer/director Ned Benson had refrained from using the name from a Beatles song.

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Behind the Scenes

Support a New Film From The International Children’s Media Center About the Andes

Posted on May 12, 2012 at 5:43 pm

The International Children’s Media Center is helping produce a children’s movie in the Andes.  They are raising money on Kickstarter to make a film called “Eduin and the Golden Scepter of the Incas.”  You can help make a magical children’s movie in the Andes and help preserve one of the rarest ecosystems on earth.

 

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Behind the Scenes

Interview: Mark Linfield of DisneyNature’s “Chimpanzee”

Posted on April 20, 2012 at 3:58 pm

Mark Linfield is the co-producer and co-director of DisneyNature’s Earth Day release, “Chimpanzee.”  I talked to him about some of the challenges of filming in the rainforest and how scientists who had been following the chimps for years saw things in the movie they had never seen before.  NOTE: Disney will make a contribution to Jane Goodall’s institute to care for the rapidly declining chimpanzee population for every ticket sold this weekend.

In the midst of a leafy, wet, rainforest how do you find enough light to get those perfectly focused shots of the chimpanzees?

It’s all down to the cameras.  We would not have been able to make this film 10 years ago.  You’d have needed 35 mm film cameras, which are big and bulky and you’d still have had quite a grainy image.  Even the early digital cameras could not do it.  The latest digital cameras are really good in the dark and really good at capturing very bright things and very things in the same composition.  So it is only recently that the technology has finally caught up with the subject matter.  So it’s all natural light.  And you don’t see the shots that didn’t make the movie.  It’s incredibly difficult to hit critical focus in the near dark. But the shots that did work were so good that the scientists who had been studying the chimps for years told us we showed them thing they never saw with the naked eye. With this film, audiences can see what the scientists have been thrashing through the bush to see and see it better.

All the animals in the film appear to be completely natural.  How did you keep the chimpanzees from interacting with the people making the film?

We worked with a group that had been followed for 30 years by scientists.  You need an animal that is totally oblivious to people.  The last thing you want is an animal looking nervously over his shoulder. They had a level of comfort so they just get on with their everyday life. It sounds counter-intuitive but if you want to get really natural behavior from an animal, you need to an animal that is totally oblivious to people and doesn’t react or respond to the people in any way.  To get that level of comfort so you don’t get a response to being filmed but they get on with their everyday life, you need them to be used to people.  But they’re individuals just like us with different personalities.  Some are just camera shy.  We had one who was perfectly comfortable with people but whenever we pulled out the camera she turned her back.  That’s when we moved on to Oscar and Isha.

We wanted the process of filmmaking to vanish. We really wanted to make a film that felt like a film crew wasn’t there.  It would be much easier to film with a camera on the shoulder.  The chimpanzees travel great distances, often travel 10 miles in a day and we would like to chase after them.  But then the camera is always moving around and wobbling a bit and you’re always reminded of the cameraman attached to the camera and by inference thinking about the process and not the story.  We decided early on even though it was sheer hell to carry tripods through the rainforest we needed to do that so that the audience isn’t conscious of the camera.  We wanted beautiful, static, unobtrusive shots with the chimpanzees doing whatever they were doing in the frame and just kind of unfolding within it.

There must have been moments when you wanted to interfere with what was going on.

We had to have a golden rule of not intervening.  Its not uncommon for something to happen that makes you want to step in and help it.  But if we had, we would have ruined Oscar’s chance of being adopted by Freddy.  On the face of it, it looked hopeless.  But as it turns out it would have been much worse for him if we had.  It’s quite a good lesson on the dangers of stepping in and doing what you think would be a good thing and it wouldn’t be.

What was the biggest challenge in filming?

Any time in the wet season is a hard day.  Rainforests have a rainy season and it’s like standing under a shower for half a day. It wears thin being drenched all day and having your clothes eaten by a fungus, especially when it seems that nothing is happening.  Then they will do something really magical out of the blue – make a tool or always surprising you.  With chimpanzees, you can always be sure it’s going to be something exciting.

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Behind the Scenes Directors Interview
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