To describe the vision further I have broken the film into its relevant production sections. From the outset I will come about the planning of every shot and scene, using the detailed commercial advertising mentally that I use daily with my high-end luxury clients to complete the unique style and look of the film. Every scene must feel crafted and well thought out; there should be a glossy and luxury look throughout the imagery. In essence you will be able to stop a single frame anywhere in the film, and that lone image could be used as a perfect picture postcard.
TO THE MOON is an up-to-date adaptation of Jules Verne’s 1865 epic science fiction adventure, “From the earth to the moon”. This is the first time the Verne family estate has supported a cinema adaptation of the great writer’s work... a great honour and huge responsibility. Verne had envisaged so much in the novel which came true over 150 years later, (space launches from Florida, splashdowns in the Pacific, zero gravity beyond our atmosphere) that the film’s feel
was almost obliged to sit within the realm of reality and feel fully believable. Although a period piece based in 1865, it is important that it stays true and honest to the past, but yet add a twist to the mantra from the outset
“Yesterdays reality - Tomorrow’s design”
“Imaging taking the materials & Technologies available in 1865 but getting Aston Martin to design them today”
The genre is to be a classic epic family adventure movie in the style of greats such as “Indiana Jones, Sherlock Holmes, Harry Potter and Jurassic Park” it will aim to sit within the UK's PG rating but will contain mild scenes of peril, romance and tension. This will not be solely a kid’s movie but more of an adult’s movie suitable for children.
DIRECTOR'S STATEMENT
LOOK
The biggest surprise of this film for the viewers will be the modern take designed for certain aspects of the story. One of things I discussed with Jean Verne when meeting with him was my passion to stay as true to the original story as possible, but I had become disillusioned with the stereotype portrayals of “Vintage Tech” or "Steam Punk". I didn’t want to see long brass handles with red knobs on the end, or complex metal swirling patterns adorning Victorian style interiors. I wanted to create a new order of design from these inventors who were leading their field; a more "form follows function" thinking, a clean modern approach similar to Apple mentality but with respect to the real materials of the time. With the appointment of the Aston Martin design team and their input into the designs of the project we hope to achieve a fresh look which brings this story into a contemporary context.
The film will be shot on the latest VistaVision 8K Red Cinema cameras as used on many other high end modern motion pictures. Shooting in the wider 2.39:1 picture scope to achieve a greater vista feel, the all-digital pipeline will not only assist us with our combination of VFX work but also allow us to use a standard tried and tested workflow that is already in place with our high-end commercial clients.
COLOUR
The colour palate is of great importance and its tonal range will influence the many scenes within the film. From the outset I want the reality of space to be a harsh uncertain and unfriendly environment and therefore I began looking at a two-tonal bleach bypassed look using blues and whites.
The gas heating that warmed the projectile in the book has been artistically designed to use a cold blue colour reference, to never really understand when our travellers are warm or suddenly plunged into freezing temperatures.
The Moon imagery was to be very baron and bleak in colour but in the same instant, only glancing back at the earth do you start to feel the safe rich colour palettes of home. Of course life back on earth would be full with colour, the iron smelting scenes almost burning you with their saturation.
Offsetting the blue with warming browns and oranges in the complementary colour wheel with striking greens and reds in the triad rule, each set, background, costume and prop would be created with this in mind.
FILMING TECHNIQUES
Although a relatively low budget for a high end action adventure feature, we are looking to create some ground breaking and stunning visual effects sequences for this movie. My background in CGI and FX will really pay dividends here as I understand what can be achieved in camera and what needs to be created in post.
Using new methods to blend classical miniature and large model filming techniques that are blended with live action plates, repeat motion control moves and CGI takeovers, I believe we can produce some ground-breaking work without the high price tag normally associated with VFX heavy productions.
A big part of the second half of the movie sees our hero’s in space, moving around in zero gravity. To shoot these sequences we will be building a special revolving set whilst using new hyper speed motion control camera systems. These allow us to shoot elements in unbelievable fast speed creating the look in playback of things moving in a weightless fashion.
With the actors strapped into the physical set as they rotate past the camera, seemingly defying gravity, will question the audience into how the sequences were filmed. The end result will produce a series of dynamic visual effects in camera but again not creating a black hole in the budget for effects work. Head of department for the camera motion control work is world renowned operator Dennis Henry, who has over 30 years’ experience in this field and would be involved from the outset of the project to work on these sequences.
In the first part of the film we feature the building of the cannon, which in the story involves digging a 900 meter hole with a circumference of over 90 meters. To achieve such scale we will use a combination of live action plates shot on computer controlled Titan Arms that allow us to produce digital takeovers into a large scale physical models. This will give an instant feel of realism and movement that can be achieved at a much faster pace than pure 3D CGI effect. Multiple passes on green screen plates with CGI elements will complete the makeup of the shots creating complex VFX work whilst working within our budget.
LANGUAGE
One of the most challenging aspects of turning the book into a screenplay was the language spoken by the characters, mostly very scientific with
all the intricacies of the Victorian era. The decision has been made to
turn dialogue into a more modern dialect whilst still trying to keep the
feel of the era.
The characters will have to have integrity and conviction, to bring a level of emotion to the screen which can sometimes switch from the slightly absurd to the tender. Whilst some of the science from the novel was very complex and had to be toned down, I felt it good to give the audience a little light education in astrophysics along the journey.
SOUND & MUSIC
The sound design on this feature will be so important that it’s one of the key elements to be discussed during the pre-production. From the sound of the massive cannon exploding to the ambiance of our travellers in the space capsule we would do extensive testing in order to capture the right effects.
On-board the project we have leading British sound recordist Alex Wigglesworth who will be using his wealth of knowledge to capture our unique soundscapes throughout.
The music soundtrack will be specially composed by Lorenzo Piggici who produces rich scores using a mixture of live orchestra and electronic effects. Taking cues from central themes that build gracefully around characters; I would look to create a moving score to accompany the style of the film.
PRE VISUALISATION
Another of the great benefits of the production being undertaken through our high end production/post company -
Fin London, is the unlimited access to the graphic department to complete the detailed pre-vis sequences for all the
action and set piece scenes.
The camera data from these mock-ups will be able to translate directly into the motion control systems on set allowing us to digitally rehearse all the sequences from the production office before shooting commences. With a film like this, it is imperative that everything is locked down before filming commences so there is no need for costly re shoots.
ACTORS PERFORMANCE
With the predominant use of real practical sets, especially the rotating space capsule, I am looking to capture real reactions, emotions and character through the performances. The tone maybe light with even hints of comedy during parts but scenes get very serious and gritty in certain sections in which the actors have to be able flip their emotions quickly.
It is very important that all of the character narratives are well established
before the 3 main leads enter the projectile into space. Everything is wasted if the audience
has no emotion for the characters in their journey. Careful attention to the script and character narrative has to be in play here to make sure that their personalities are captured correctly on camera.
In the original book there is no female character or love interest, with the permission from the Verne family we have altered to original story
for our screenplay to accommodate this.
Her role has two intertwined narrative strands, the rekindled love for her father after a period of separation and an unexpected love interest in the form of intrepid traveller who wishes to go
to space in the projectile.
In a twist of fate both these men are committed to travel to the moon, where she realises that she is back to square one. Even with the unplanned return of the capsule to earth she is unaware that the men are still alive and after a fruitless search and the story is left unresolved.
In order for this duel emotional strand to work with such a short audience development time, we will need to have a strong female lead
who is able to deliver strong performances of both script but also body language.
In many ways, the performance of the female character is the lynch pin of actor line up, being strong, sensitive, angry and romantic all in one role.
LOCATIONS
With the story being predominantly set around Florida in the US and the weightless reaches of space, our task is to find suitable alternatives to double the locations here in the UK to gain the maximum advantage with the Tax refund credit. With provisional scouting and exploratory negotiations, we have already found some suitable areas to film at the New Forest in Dorset and the old harbour town of Weymouth. With the use of frontage replacement and digital matt paintings these locations with full prop dressings will produce some stunning backdrops for our drama.
Location manager Jonah Coombes (The Girl with the Dragon Tattoo, Saving Mr Banks, Paddington) will be heading up the department during the development &
Pre-Production stage of the project.