You have long led EuropaCorp. What difference is there between being at the head of a house and established a challenger like Ubisoft Motion Pictures, founded four years ago?
The difference between Europa and Ubisoft, is that Europa is a great company, with a founder who is an incredible director ( Luc Besson , Ed). With a logic of producing great because it takes into account the French roots and at the same time is inspired by Hollywood rules. It is a well-oiled machine that is now going even further internationalization. Ubisoft, it’s totally different. It is first an important strategic bet, because it is a company which of course is in the game, but has built tremendous franchises. And the basic question of Ubisoft Motion Pictures is whether we can feed the 360 degree strategy, with which the marks, it is not only games but also movies, series, amusement parks, comics …
Then we want to try to prove that the adaptations of cinema video games can be good projects. Until now, it was licensing purchases – so the studios that were unfamiliar culture and DNA of the game – and that frustrated fans. Or gaming companies who thought that because they knew playmaking, they knew how to make films. But this is not the same. By taking the initiative to create this structure dedicated to the cinema – with only film people – we want to show that we have the closeness with the players and the specific know-how that allows us to produce it. That’s why creative control is essential for us. We have creative control as we choose the main actors, directors, budget, the scenario … It’s a package that we present and studios take it or not. But the amount will still be paid. We also have the final cut, even if we do not fund mainly the film. They preferred not to film rather than not having that creative control. Of course, we work closely with the studios. They have an incredibly strong expertise on production. But it is a safeguard. If ever there was a slip that would bring the film to a direction that does not suit us, we can put a veto. And in Ubisoft’s history of loving change the rules of the game and we want to do that too in film. Usually in Hollywood, when you develop a big film, you start with a script or studio … We did not do that. We said: “ For each film, what is the first decision that we have to take ?” For Assassin’s Creed , it was obvious that the first decision was the choice of the actor. Who is behind the assassin, who will personify? For Splinter Cell , same thing is going to be Sam Fisher? The obsession that we had was to find actors among the best, if not the best. Which have been proven in independent cinema.
& gt; & gt; & gt; Brendan Gleeson and Jeremy Irons Michael Fassbender joined the cast of Assassin’s Creed
Because it is a guarantee of quality for you, the independent film?
Yes, because there is a requirement in this cinema. Which can also exist elsewhere in the mainstream, but that seems more systematically in independent. At the same time we did not want them to be too indie . So we also work with people who have had a public experience. Michael Fassbender was obvious, with both his playing and his look. And when we met him, he immediately joined our universe. This is a guy doing Hunger, Shame, 12 Years A Slave as well as X-Men and Prometheus . Same for Tom Hardy he Mad Max , The Dark Knight Rises and parallel Locke or Bronson , incredible films. The best of both worlds.
How do we manage to convince an actor like Fassbender to commit to a project without knowing exactly what it will be?
He accepted very quickly. And it was the only actor which we thought was obvious. So we started with the actor, which is incongruous. Even more incongruous, he engaged us with nothing. There was no script, no studio or anything. We told him we were going to build the project together, we have a huge brand and we want to make a make a film with references to feature films like Batman Begins or Blade Runner . That is why we tend to. He was promised that he could work with the writers, we would associate it with all key creative choices. This is obviously attractive for intelligent players like Michael Fassbender or Tom Hardy . It is like a huge studio because it has huge brand, but it is a small structure. And it will remain like that, you do not want to become bigger. Tom Hardy was also evident on Splinter Cell . We had the same discussion and it is also committed immediately. Tom is a gamer and loves the Splinter Cell universe . We worked a lot with him on the character.
And for each of your films, you are going to hire the first actor?
On Watch Dogs or Ghost Recon , the approach is the first scenario, unlike Assassin’s Creed or Splinter Cell . Because the character is iconic less essential. Watch Dogs only a year and we are not sure you want to keep this hero (in the game, it embodies Aiden Pearce, a gifted hacker, Ed). It is not essential as Sam Fisher is. It will be a film about hackers and freedom, that we are ready to give up our freedom for our comfort. It must go through the script. Then we’ll see if we are moving towards a filmmaker or actor. Ghost Recon is a team of four characters that varies. We thought it was necessary first to create a difference in the scenario, because war movies there are tons. And I think we found a very interesting axis.
You arrive on the overloaded Land blockbuster for adolescents and young adults. What will differentiate you?
We are very committed to the development of our franchises and respect their values, to make film content but for the general public. And it is this combination of the two which I think made the difference. With choices may be bold in terms of actors, directors. It will take creative risks.
& gt; & gt; & gt; Assassin’s Creed, Warcraft, The Last of Us … The game did finally a future in movies?
How is the development of a film with you?
Our approach is to remain in control of the development, so to finance it 100%. We choose writers who are not necessarily stars but people who have understood the universe. And as long as the script is not level, it will not launch. It has also worked very closely with New Regency for Assassin’s Creed . We needed them for their expertise. There was a kind of triptych between the actor, the studio and us. It is the combination of the three who built this scenario. With arbitration returning us as we fund. The beauty of being a small structure is that no contingencies that lead us to release films in greenlighter quickly. It leaves time to time to arrive at what it takes. Four years of development for Assassin ! Well it’s a huge movie eh, I can not officially give the budget but balèze …
Near 150 – $ 200 million
I will not say we are close to 200 200 but not far either. We can say that we are between two and a little over yourself!
Why did you choose an inexperienced director, at least when you hired?
Ubisoft love doing arts and paris Assassin’s Creed is the case. When we chose Justin Kurzel , he had made a film, Snowtown . This is Fassbender who led us to him. And contenders to make the film, there were, and highly bankable filmmakers. It was named after Cannes.
How do we know that a young filmmaker can keep a big budget film like this without giving in under pressure?
I think it’s instinct producer talking. And we did our survey of people who worked with him. They all thought it was an incredible director of actors. It helps. We must not forget that he works with his cinematographer Adam Arkapaw, which is still the one who made Macbeth but also the entire first True Detective season . Then, when I met him, Justin had a real vision of the universe Assassin and cinematic language that he wanted put was very strong and adapted to the license. That is to say, a very iconic image but something very realistic too. In how to “write” the film, there is the combination of both. When I presented the writers Justin, after thirty minutes, it was he who directed and was recognized by all, including me. And it does so with great humility and firmness. He knows where he is going but he is not one to scream, he imposes his vision more subtly. When choosing a director, you also choose a leader. And then it was surrounded by a strong team, with producers Frank Marshall and Patrick Crowley , which is particularly Jurassic World . We took them because they used to work with young directors on big films.
This is a trend in Hollywood to directors who have not made many films on huge projects head. You could choose any director already installed instead.
Assassin is an extremely rich universe, we needed someone who could get across key messages, which can lead extremely talented actors but at the same time very demanding . Justin is not so much a young director, he already has experience, knows how to convey strong messages and includes the universe of the franchise. But this is not to follow the fashion of Hollywood we did that. If we had held that a director also confirmed the job would have been better, we would have taken it. What we want is to hire people who have a certain sensitivity and the youth. After working with Warner on the adaptation of Ghost Recon , Michael Bay is a producer and will perhaps realize. We can not say that it is a young partridge of the year! Can be accommodated. At the same time we now bump on Splinter Cell with Tom Hardy , we think about young directors that we did not used to see on this type films.
Michael Bay really want to make Ghost Recon
Yes. Now is he going to do it with Transformers … and then you’re out the movie!
I guess mended is to create a franchise Assassin’s Creed to the movies. Do you possibly think of changing an actor in each film as one changes character almost every game?
We are very loyal people. We would be very happy to continue with Michael Fassbender . Now he must like it. In any case it has invested heavily and still is, in the scenario as with the director. You want to make a way together.
Basically what is your goal: sell video games or movies
Ubisoft has created brands for video games and considers that it can be valued in other areas. The logic of it happen to be a gaming company to that of being an entertainement company. We’re pretty proud because four years ago it did not exist, had never produced TV series. Do not have the merchandising armed wing of Ubisoft, which would sell some more products. Otherwise I would not have come. That is why the artistic choices and launch films are not made in respect of the marketing plan and promotional games. Each has its logic. After of course, if we can play on marketing synergies, we will. But this is not the main goal, otherwise you will crash.
& gt; & gt; & gt; Tom Hardy is Sam Fisher in the film version of Splinter Cell
You were talking earlier references like Batman Begins or Blade Runner , so you do not be afraid to dark films, at a time when the blockbuster it produces much more?
This is a hazard which it could have fallen. And one can not say that Justin’s filmography is extremely light! New Regency was extremely helpful about it because we were told that we should not forget that we are there to make fun of. We want it to be a film course background, but it is also fun and there is a lightness. For example at the waterfall, you will not at all in an auteur film! We took the best of which Dan Bradley as second unit director, who made the Bourne, Casino Royale, Skyfall … in the fun of the action, he knows whereof he speaks. We will invent new choreographies and way of filming the fighting will be totally in the brand but that have never been seen.
In film as in the game?
Yes, exactly. In film as in the game. So the fun will be visual, because there will obviously not many fun dialogues. The murderer is still not an end-to-train! Our big bet is that working on three audiences: fans of our games, and there are still 95 million; the mainstream movie fans who will see Star Wars and Spider-Man ; and in parallel also targets a population that does not think at all today to see a movie Assassin , which like independent films. And we hope to bring them because there are these actors and the directors and also because there is an important message: freedom versus control. How far are we willing to fight to defend the independence and freedom? And if in the end, there was a way to create less violence and problems, what they would be willing to give up our freedom? These are real current messages. And then they are historical references, since it is the principle of Assassin (the hero can somehow travel back in time and embody their ancestors through a machine called the Animus, Ed). Religions and fanaticism will also be important topics. We want the film also echoes face values and strong news. Without that it is black, boring, pessimistic, wordy …
You seem to hit all targets, not a little dangerous?
it can be dangerous, but the idea is to completely embrace what the mark Assassin and I think it is affecting all public. That is to say, super jumps, the leap of faith, incredible fights, but also the opportunity to meet remarkable men. In games we met George Washington, Leonardo da Vinci … We learn about history.
There will be this aspect in the movie?
Yes. We will learn things. On the Inquisition, Torquemada on … Of course. Because we have this vocation there. It is very ambitious, but we want to answer that, because we think it’s better to use the brand.
Do you think that video game adaptations will become the new gold mine in Hollywood as super heroes are today?
I think studios today are looking big franchises, and that video games bring. But in the past, video game adaptations have not been conclusive. So it’s complicated. We believe in it, otherwise we would not do it. But I think there is an attachment to the video game, which are less with a comic book.
I’m really not sure about that … When we see as fans scream at the slightest change in superhero movies.
A comic book, you do not spend 60 hours on it. Yes on a game. In addition it’s a big financial investment. And a comic book you do not read it several. There is a sort of emotional attachment that makes gamers are very sensitive. If you make a film adaptation that betrays them, they are fast in rejection. You make a bad Batman, well … Is it going to impact the Batman brand or the number of sold comics? I’m not sure of it. What is required is that you respect the fans and it means a big development work and good choices.
What did Marvel Studios.
Marvel, it’s great what they did. They are the masters. In addition they had aging brands they managed to reboost. Marvel is a thousand times stronger than us. I’m just saying the difference is that there was not perhaps an attachment so strong initially, at least not in so many people. We must respect the 95 million people who play our games.
& gt; & gt; & gt; Doug Liman and Tom Hardy offer a second life to Sam Fisher in the film Splinter Cell
But do you stand compete face to Marvel and others ? You see the video game also become as strong as the superhero?
I do not know, because I do not think all video games can be adapted. There needs to be a world and characters that are appropriate. So of course we believe in the future of the cinema adaptation of video games. But we must consider carefully. We have many brands we have not yet adapted into movies because we think it is not safe. We did not want to be in a situation where because we have a great brand, let’s make a movie. We want to be sure there’s a sense that there is this brand to the movies or series. Now if that makes sense and it works well, it’ll be an incredible lever. I think a lot of people watching us right now, to see what it will give.
Do you feel a certain fear you tackle a very saturated market blockbuster?
If it does so by saying that because we have a strong brand and therefore it is won, it will crash. So our claim is to make a very good movie. If this is the case, as there is the brand more, it should. If we make an average film, one risks being cannibalized and it works moderately. The brand helps us of course because it gives us visibility, but it is far from a guarantee of success. That’s why we spend a lot of time on content and quality. It is also for this reason that does not licensing. Why else would we bother? We sell it to a studio and you earn very good living. But we consider that it is the quality of the film that will make a difference and that will push the brand. The brand helps to raise funds and attract talent. But this is 15% of the way that is done.
Some video games have more movies in them quite recent productions. How do you respond to that?
The universe is the most important point. It has already taken the position to say we never strictly speaking fit the stories of the games movies. The difference between a player and a spectator is that the player is the screenwriter, actor and director. But it evolves in a universe. In the film, you are spectator. You expect there to be an actor and a director. So we must find the magic experienced by the player, and must also incorporate the codes that the game can have. Recognition codes, values … And we want to use that. The leap of faith ( Assassin’s Creed , the player can make a jump with his arms from a building and landed in a haystack, Ed) is a code.
Exactly, with figures emerged as the leap of faith, it can be complicated to avoid rude nod to the video game. What is often criticized for adaptations. How do I overcome this?
By choosing a good director already! And it must be done in such a way that it is a credible hand – it does not do cheesy – and be innovative. That’s why we work with sizes in the waterfalls. Same for the Animus Assassin , it is interesting to work on something that will surprise the players. In the game, there is much in the past, few in the present. Obviously that in the film there will be the past, but also a lot of this. For a feature film, keep the main elements of the universe and its codes. What we take, and what often less the game, it’s the characters and structure, scenario. Because in a game you go where you want. You have a mission but you can stroll. We did a lot of work on the characters to give them thick and understand their own anxieties. And there was a continuous dialogue with the people of the game, which were the guarantors of the DNA but did not intervene on the scenario and the artistic choices. They were there to confront our ideas and we warn us if we imagined things coming out of the brand. There was a communion between us that was extremely carrier.
The cinema has embarked on a race to the sensory experience, with 3D, IMAX, vibrating seats, Dolby Atmos … But still struggling to compete against the video game in terms of immersion.
Today, we say that the technology can be used in the context of the story that has built only if it strengthens him and help him. It does not want technology to technology and under the pretext that we are a games box, do things in virtual reality because it’s chic to. But if it makes sense for the story of the film, we will. And we must not forget that a film is a film and a game is a game. The experience can not be the same and better. However, while working on a lot of projects, which would be a bridge between the film and the game. Who would not necessarily be in the film, not necessarily in the game, but next. I can not tell you more.
Who would be where, then? Something new?
We like to reinvent the rules of the game! So yes, it would be unprecedented. We launched Rabbids eg Futuroscope, it’s a carton. We made the 5D there. It’s a little early. But we work a lot on virtual reality at Ubisoft.
But you’re talking real “titles” or experiences in the world of movies and games?
Experiments were going to say. New experiences that bridge.
What everyone can “eat” at home?
(Laughs) We will return there on time.
The video game, sometimes even in the most headlines, continues to be an amazing creative pool. Is the cinema blockbuster is not likely to format the video game by imposing its codes?
That there is a positive mutual influence, yes. But the film imposes things in the game that are at the expense of the players, I do not believe at all. Because each with its rules. I think they will mutually enrich themselves in their fields of expertise. Example: in the film Assassin’s Creed , we’ll talk about the contemporary period, which will give ideas to developers, if that makes sense. And conversely, the next game will maybe give us ideas for the next film. It is not at all in a relationship among equals , we are in two worlds that are similar but different, and in which we want to build bridges, because we are the same group . All we want is to satisfy our respective targets.
How did you get the idea to cast Marion Cotillard Assassin’s Creed
We had a brainstorming and New Regency on possible actresses, the name Marion Cotillard came very quickly on both sides. It was for us as a remarkable actress and plus she had just turned with Fassbender ( Macbeth , under the direction of Justin Kurze s, Ed) and could very well what we wanted to stick to his character, it was obvious. But we did not mean to refill the cover with the same actors and the same director!
What will it do?
I can just tell you that we will see more in the present.
It’s a role similar to that of Kristen Bell in the first game Assassin’s Creed
I can tell you anything.
Exactly, have you considered as an actress Kristen Bell, because it doubled an important character in the games?
No. At all. Never.
Assassin’s Creed has been pushed, the development took four years. The film has evolved since the beginning?
Between the first script and today, yes, it has changed a lot. But I do not know if the development was long, because it’s a huge budget. Assassin was a complicated development, because you are working on two periods, contemporary and historical. With two heroes, since you have the current hero Callum Aguilar and his ancestor, who have two parallel stories converge. Usually in a movie, you have a hero. And the link between the past and the present, it is not necessary that one of the stories take precedence over the other. So structurally, it was very complicated. It simply was not ready, not happy. What’s nice is that we laid the foundation suites, if there is any.
Do you eventually merge your universe, as is the case with Warner Bros and Marvel?
I do not know. We want to go step by step and make movies to be proud. And if they are good, it makes sense, everything is possible. But it is not on the agenda for now.
Interview François Léger
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