“My next picture could be a remake of Howard’s End…” Greg McLean ‘Jungle’ Interview (THN)

Out to own is Jungle, the knuckle-gnawing true story of adventurer Yossi Ghinsberg. Ghinsberg was stranded in the heart of the Amazon rainforest, where he faced a terrifying ordeal battling the elements for his very survival.

Daniel Radcliffe plays Yossi in the movie, which is directed by Wolf Creek‘s Greg McLean. We sat down for a chat about raging rapids, rugged Radcliffes and the inhospitable climes of Wolf Creek Season 2…

THN: The film is something of a departure for you. What drew you to the project?

Greg McLean: I wanted to make a movie where people were trying to save a life rather than take it. (Laughs) A lot of my films have been horror films. I thought the true story was incredible, it was very inspiring. When I first read it I thought what these guys did and how it happened was very moving and it was something worth trying to capture on film and share it with audiences.

What involvement did Yossi Ghinsberg have with the production?

He was very involved. He came down to Colombia and Australia where we shot it and was there the whole time. We spent the day together at first, getting to know each other and talking through everything in great detail. Then we went through the script line by line with me saying “Okay this is what the script says. What actually happened?” Just so I knew that going into the film I was completely armed with everything I could possibly get to give us the reality. Then often I would change things, back to his book. Because the book is a virtual telling of the story, obviously from Yossi’s point of view. But it’s a very clear telling of what went down. I was trying to be as accurate as I could.

How did Daniel Radcliffe come to be cast?

Someone mentioned Daniel and we looked at the movies he’d been doing. He’d been giving some fantastic performances and was seeking out different roles. He loved the character and what the movie presented as an acting challenge. He’s someone who’s looking for challenging projects and this was one!

What scenes were the most difficult to film?

The scene with the guys stuck on the rock and then going down the rapids was pretty massive. It was really dangerous, we didn’t have a green screen. We were clinging to a rock in a raging river, I was just very, very anxious about that. Because if you fell in that water you wouldn’t be coming out. I didn’t want to lose actors in that river or I’d’ve been in trouble! (Laughs) That was hard work. It was necessary to make it feel as real as we could, short of chucking them in the water and seeing if they survived or not.

How long did you have to spend in the jungle each day?

The sun would come up, then we’d work all day till it went down. We’d rehearse then drive up to the mountains, to these villages around Bogotá (Colombian capital). It was a three hour bus drive along these tiny little roads. We’d get up before dawn and go out to these remote locations. It was fairly crazy! Pretty rugged.

If you were shooting there again, is there anything you would do differently?

No, we were pretty lucky with our cast and crew, they were all incredible troupers, throwing themselves into everything. For such a complex, challenging shoot I think we did pretty damned well to get out of it all alive with no casualties. The opportunity for danger was around us all the time, especially with the rafting sequence.

Your movies are generally set in inhospitable environments. Will you ever make something set in, say, a coffee shop?

I really want to! My goal is to make a movie set in like a Downton Abbey-style location. That would be my dream. (Laughs) I do love being outdoors and using the elements to tell stories but I certainly am drawn to telling other stories as well. So maybe my next picture could be a remake of Howard’s End or something.

That I would like to see.

I could throw in some zombies to beef it up a bit.

Indeed! Crucially, what did Yossi and the guys make of the finished product?

Yossi and Kevin saw it and loved it. They thought that the portrayal of them was really accurate. I think they were impressed with it. My intention was to tell their story as truthfully as I knew how to. What those guys went through was pretty amazing and I think they were happy with the result.

What was it like working with James Gunn on The Belko Experiment, which was a long-gestating project?

That was a script he wrote many years ago when he was first starting out. Everyone loved it but they were too scared of it. He was called about it later on but was busy doing Guardians Of The Galaxy Vol.2 so he went out to look for a director. I pitched to him and he really loved it. He’s a great collaborator. He’s basically a film fanatic, which I am as well. I think being a director himself he was cool in terms of what that role needs. If you gel with someone you kind of just leave them alone. You help them but ultimately you let them make the movie.

I’d like to move on briefly to talk about Wolf Creek. What can you tell us about Season 2?

It’s a completely new storyline from scratch. It starts a bigger story arc that may continue if we go into a new season. The basic concept is about an international tours coach in the Outback. They encounter Mick Taylor and all sorts of craziness happens from there! It’s a character-based thriller and incredibly fun.

Mick Taylor is a well-developed character, which you’ve expanded from movies into TV and also books. What is the secret behind his longevity?

There’s the true crime element… a lot of it is drawn from true life cases. His psychology is fairly accurate to real serial killers from Australia. Also I feel people are fascinated by the nature of evil and he is a purely evil character. We’re drawn to try and understand that. Plus he’s a character audiences love to hate!

 

This interview appeared on THN.

“Marilyn Manson would love to be the villain in a Marvel movie…” Tyler Bates ‘Guardians Of The Galaxy Vol. 2’ Interview (THN)

Guardians Of The Galaxy Vol. 2 has rocked up on disc this week, taking you back to writer/director James Gunn’s wild dimension of space opera fused with an array of jukebox classics. Music plays a bigger role in this movie than most – composer Tyler Bates had to boldly go above and beyond for Marvel’s unique comic book franchise, as this revealing interview explains…

THN: As with the first film, the soundtrack for GOTG Vol. 2 was composed before the shoot, which is an approach I’ve never heard of before. Where did the inspiration for this come from?

Tyler Bates: Well there was plenty of music in post production but over the years James Gunn and I have known each other. Our working relationship began on Slither and we’d discussed working in this fashion, more like Sergio Leone and Ennio Morricone. By the time we got to Super there was time for us to conceptualize the music before he shot the film and after we had that experience on Guardians 1 he wanted to go deeper in that direction.

What was the atmosphere like on set with the music… I presume you were there watching?

The funny thing was I wasn’t there till he had me visit the set on the first Guardians. They’d already been shooting to the score. So he put me in the movie for fun as a Ravager, I was in make up and all that. I was walking with the actors into a scene and they were cranking Cherry Bomb over the PA… and I really felt how the music contextualized the moment and the sentiment of the moment. Chris Pratt elaborated on how much the score centred him and his character, therefore on the second one they gave the actors ear buds to listen to the music while they filmed. They digitally removed the buds. For instance, the Celestial Catch scenes with Kurt Russell and Chris… several scenes like that were composed in advance.

How does working with James Gunn compare to playing with Marilyn Manson?

They’re very different people but also both are highly intelligent. I’ve always known that James was brilliant and would go on to make a significant movie in Hollywood. I think what each of them do is bring out the best in me as an artist. That’s what I’m seeking mostly with my collaborators. With Manson I have a great deal of creative freedom. With James, because we develop ideas for the script as opposed to a literal picture, initially the language of the movie as far as Guardians is concerned is really a conversation between us, as opposed to referencing something that already exists.

Have you spoken to Marilyn Manson about appearing in Guardians…?

(Laughs) I don’t think that James or Disney would be 100% comfortable with it. I’m sure Manson would love to be the villain in a Marvel movie. He told me he’s very interested in doing more acting.

Is it easier scoring a sequel because the music is already established or harder because it has to sound fresh?

I think it’s more difficult. Going into it I thought: “We got through that first one, that was tough!” Working with James is tough, his standards are very high because he needs to make the best possible movie he can. He’s making movies that are performing historically high at the box office, so the expectation for a second film is even greater. It’s about raising the bar and seeing what we can do to deliver a greater story, deeper emotion, more fun and more entertainment value to the audience. Obviously you have to take a look at what has been established and feel good that the basic language of this world is created, but we’re going to have to expand upon it and delve into new territory. Hopefully if we do another one together we’ll come up with some surprises for ourselves and the fans.

Is there a character you especially enjoy writing music for, from Guardians or other films?

Regarding GOTG, Peter Quill is a character I identify with a lot. Not because I think I’m like him but he relates to emotions in his life through the music his mother passed onto him. I share a very similar history with my mother, who died when I was young. Her passion for music definitely inspired me and thankfully she really opened my mind to many different styles and genres. Long before I knew it, she was probably preparing me for life as a collaborator and producer.

Speaking of collaborations I notice on your CV that you’ve worked with William Friedkin (director of The Exorcist, among others). What was it like scoring Killer Joe?

(Laughs) I love Billy. We had a very interesting onset to our relationship because the producers actually brought me into that movie. I was not his choice initially and so he beta-tested me quite a bit. I think he appreciated the fact that I was not flappable and I maintained a sense of humour about our working together and at some point we gave into each other and connected. I had a terrific time on Killer Joe. It was daunting, you know the first meeting I had with him he explained the history of The Exorcist music and that he threw out Bernard Herrmann’s score and then threw out Lalo Schifrin’s before he found Tubular Bells. So it was a tall order but I felt really good about it because it was always interesting and he’s such an intelligent person. It was like being in film school. It was pretty extraordinary actually.

What can you tell me about Atomic Blonde…?

That movie is one of the very best I have ever worked on. It’s so good. David Leitch is just gonna have a monster career. The film is set in the 1980s and it really was open to creating an impressionistic style of music that might live in that era but also be contemporary. It’s fun, it’s not the most bold or forward score that I’ve ever done but I really do like it and I was happy to be able to produce songs with Manson for the soundtrack.

 

This interview first appeared on THN.