RESIDENT EVIL: RETRIBUTION – INTERVIEW (Paul W.S. Anderson)
RESIDENT EVIL: RETRIBUTION – INTERVIEW
Writer-Director Paul W.S. Has recently been talking to Shock
Till You Drop about his latest Resident Evil Film.
At WonderCon 2012 in Anaheim, California, Shock Till You Drop try to find out where he's at in the production process and to discuss new creatures, opening up the Resident Evil world and those supposed flashbacks that were hinted at in the teaser.
Shock Till You Drop: Where are you at right now and how are things
going in post-production?
Paul W.S. Anderson: Editing the director's cut right now and
stuck in the editing room, editing furiously.
Shock: Good job on the trailer. I was suprised to see one released so early.
Anderson: Well, we were talking about it while we were
shooting in the movie. We wanted to get
the teaser out as a statement of intent - we're taking the movie globally. I said if we were going to do another
Resident Evil, we had to raise the bar in terms of scope and scale of the
film. I wanted to make the first really
epic undead movie, epic post-apocalyptic film and that's what we've done.
Shock: Did you shoot anything specifically for the
teaser that won't appear in the film?
Milla and Li on set taking pics |
Anderson: Everything's from the movie, other than the
people standing around with their Sony products. [laughs] I love them, though, because they
all deserve to be eaten alive.
Shock: Ah, so the White House footage with those
flying creature - all the movie...
Anderson: Those are from Resident Evil 5. Part of raising the bar is making the
creatures and the undead more of a challenge for our characters. I felt like humanity had its superiority for
far too long. If you could make it to
the chopper and take off, you're safe, nothing can get you. That's not the case because they introduced
these cool parasitic creatures from Resident Evil 5, the video game, and we
make use of them in this movie. In the
White House scene they're tearing these big choppers out of the sky, so there's
no safety. Plus, we have the Las Plagas
parasite introduced in the Resident Evil 4 video game which is still an
infection - people want to eat you - but now they have motor skills and have a
degree of intelligence. They can ride
motorcycles and shoot machine guns. It
makes survival more challenging.
Shock: Since you're opening the scope, are we going
to see what survivors are doing around the world? Because the films have always been limited to
one specific group that Alice encounters...
Anderson: Yes, because we go to more international
locations - to enforce the epic scale of it.
We go to Washington D.C. and see the Capitol building torn down, we go
to Times Square, Red Square, back to Tokyo so it does have a global reach.
Milla Jovovich getting ready to take on Alien Menace |
Shock: SyFy
recently ran a double-feature of the first two Resident Evil films and it's
amazing to see how much this series has evolved...
Anderson: Mutated?
Shock: Or that, no pun intended? I can imagine you ever thought you'd be able
to take the series this far and be given the freedom to explore the universe
this much.
Anderson: You dream and those dreams came true. This is a franchise I'm incredibly proud
of. When you go from the humble
beginnings of the first film, which was a film financed outside of studio
system - we didn't have a U.S. distribution deal in place - it went from this
little film that could to building a billion dollar franchise. To evolve from that contained chamber piece
horror the first movie was to a much more epic scope is very gratifying. It is an evolution though, because you look
at the history of other franchises - which I do a lot - the ones that succeed
are the ones that evolve. They say learn
from the best or steal from the best and, obviously, a big fan of Alien, you
look at the first two movies - from Ridley and Cameron - they're a genius
lesson in how to keep a franchise fresh.
The way Cameron came in and knew Ridley had done such a good job with
that tight, claustrophobic movie there was no way he could match that. So, he made his own film - scary but it had
all of these action elements as well.
That's always been a lesson for me and that's what I tried to apply
here. Allow yourself to evolve and
mutate so you're delivering familiar elements for the fans but do something
fresh as well.
Michelle Rodriguez is Back!! |
Shock: Using that example of Alien and Aliens,
you're talking about two different directors.
With this series, especially Afterlife and now Retribution, we're
talking about one director putting pressure on himself to raise the bar. That
must be difficult...
Anderson: Yes, definitely. I spend a lot of time thinking about it,
that's for sure. The clip we're showing
today - set in the corridors of Umbrella - we've spend so much time in
corridors. Corridors made of metal,
corridors made of this and that. How are
we going to be different? The production
design in this movie is out of this world.
Beautiful. We manufactured this
one particular set out of glass - the type they make skyscrapers out of. It gave us a unique visual look because it's
sort of self-illuminating. We had lights
coming through the floor, wall and ceiling.
So crisp and white. But once you
start spraying the blood around, you've got red on the white floor, Milla
dressed in black. It's a graphic and
fresh look. It's definitely a Resident
Evil movie. There's Milla, the undead,
the Umbrella corporation logo - but it's a look you've never seen before in the
franchise. That's what I'm always
looking for.
Shock: Now, in the teaser, we had a little taste of
what looks like Alice with kids in a suburban environment. And when we were on set, there was rumblings
of perhaps flashbacks of some sort. Now
that you're editing, how much of these flashbacks take up the film?
Anderson: It's a pretty big chunk. It's not the whole film and but there's a big
chunk where you spend time with her in that environment and you really get into
it. It's a piece I'm really proud of
because, again, we've never really done this in the "real
world." The first movie was in this
stylized environment and, since then, has always been apocalyptic. So, to go to this real suburban neighborhood
was a real thrill.
Alice is kicking ass!! |
Shock: Was this a concept that you maybe wanted to
toy with earlier but wasn't given the chance?
Or did the introduction of this world come about organically and just
feel like the right time to do it?
Anderson: Not really,
it felt like the right time. And
I came up with the right story idea to explore that environment. It was fun to shoot in a real suburban
environment. None of the home owners
wanted us there. None of them. It was an up market with fairly rich
people. They didn't need the location
fees we were giving them. But, every kid
in the neighborhood wanted us there.
Basically, all of the teen kids bullied their parents into letting us
shoot there for a week. In return, all
of the kids kind of became zombies in the movies. By the end, though, they wanted to kick us
out because we were setting things on fire, crashing things - even if they
thought it was fun, what they did not want is this big film crew at the end of
their garden. When we pulled out, I told
my team to shoot everything we needed because we were never going to get the
chance to come back for re-shoots.
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