The Watchers

The Watchers

Saturday, 29 August 2020

Chadwick Boseman (1976-2020)


Like many, we were very surprised and deeply saddened to hear of the sudden passing of Chadwick Boseman, who died on Friday 28th August. He was 43. The actor had been diagnosed with colon cancer four years ago but chose not to make the information public.

Whilst he will be remembered for portraying T'Challa/Black Panther in the Marvel Cinematic Universe, Boseman's other films saw him playing trailblazers and barrier-breakers, always with an undeniable 

Born in Anderson, South Carolina, Boseman studied at Howard University in Washington, D.C., where he was mentored by actress Phylicia Rashad and graduated in 2000 with a Bachelor of Fine Arts in directing. He also attended the British American Drama Academy in Oxford. In an interview, Boseman stated: "I started out as a writer and a director. I started acting because I wanted to know how to relate to the actors."

He started his acting career on TV, with appearances on shows like Law & Order, Cold Case, ER, Lie To Me, Castle, and Fringe. He also appeared in a couple of short films, and made his feature film debut in 2008 in The Express, a sports biopic about Ernie Davis, the first African-American football player to win the Heisman Trophy. He also appeared in war drama The Kill Hole (2012) and sports drama Draft Day (2014).



Boseman first made a major impression on Hollywood when he played the lead role of baseball player Jackie Robinson in sports biopic 42 (2013). Directed by Brian Helgeland, 42 tells the true story of how Robinson became the first African-American athlete to play Major League Baseball when he was signed by the Brooklyn Dodgers in 1947, predictably (and depressingly) followed by racist abuse on and off the field, from fellow players and fans alike. The film shows Robinson's inner turmoil at having to take the abuse and not react, and his fire and determination not to be beaten down, which Boseman channels superbly. At one point, he says "I don't care if they like me. I didn't come here to make friends. I don't even care if they respect me. I know who I am. I've got enough respect for myself. I do not want them to beat me."



His next major film role would be another biopic, but about the life of a remarkably different man to the stoic Jackie Robinson. Boseman played Godfather of Soul James Brown in Tate Taylor's Get On Up (2014). Whilst the biopic is a little uneven, Boseman's exuberant and flamboyant performance captures the soul of the man. After that, he played the Egyptian god Thoth in Alex Proyas' mindboggling Gods Of Egypt (2016) before he made his first appearance in the MCU.

However, in between playing Black Panther in four movies, Boseman took on several other roles, including a young man on the trail of revenge in Message From The King (2016) and NAACP lawyer (and future Supreme Court Justice) Thurgood Marshall in Marshall (2017). Marshall would go on to be the first African-American Supreme Court Justice when he was nominated for the role by John F. Kennedy. Again, it's a very dignified performance.



Of course, though, it was his work in the Marvel Cinematic Universe which propelled him to the stratosphere. Relatively unknown when his casting was announced in 2014 (although he'd got 42 under his belt), he soon made an incredibly strong first impression when he appeared in Captain America: Civil War (2016) as the prince of Wakanda who is thrust into a leadership role when his father is killed in the bombing at the Vienna conference which would ratify the Sokovia Accords. Considering how stacked the roster of MCU characters was at this point, it's a testament to Boseman as an actor that Black Panther didn't get lost in the muddle. 



Of course, the character went on to have his own solo film in 2018. Black Panther broke all sorts of records and became the first superhero movie to be nominated for the Best Picture Oscar. Showing that his performance in Captain America: Civil War was no one-off, Boseman carries the film with charm, power, and charisma. He has a wonderful rapport with Letitia Wright (playing Shuri) and Angela Bassett (who plays Ramonda). You believe him as a man torn between opening Wakanda up to the world and keeping traditions. For me, Black Panther is one of the stronger MCU standalone films and part of that is down to Boseman's performance. 



In Avengers: Infinity War (2018), T'Challa is one of the victims of Thanos' snap and blinks out of existence, to be revived in Avengers: Endgame (2019) and join with the other Wakandans to participate in the final battle. Whatever else you may say about the film, there's an undeniable joy when you see the characters returning. There were plans for Boseman to reprise his role as T'Challa in a sequel to Black Panther, due for release in 2022. 



Boseman released two films prior to his death, the cop drama 21 Bridges (2019), and Spike Lee's Da 5 Bloods (2020) in which he appears in flashback as Stormin" Norman, the leader of the all-Black squadron sent in to recover the cargo from the downed CIA helicopter. He had completed filming Ma Rainey's Black Bottom, based on the play by August Wilson in which he plays the ambitious trumpet player Levee opposite his Get On Up castmate Viola Davis as the titular Ma Rainey, for Netflix prior to the COVID-19 shutdown.

In an interview with The Wrap in 2018, Boseman said: "What I have always wanted to do is to break those barriers in every way that I can. If I’m looking at something, I think, ‘How do I break a barrier in this role? What can I bring to the table that’s different?’" From portraying barrier-breaking rea-life people with nuance and style, to showing a generation of Black children that they could be superheroes too, Boseman certainly broke down some  barriers. That he was determined to still work and take on majorly physical roles whilst undergoing and recovering from various operations and chemotherapy is testament to his strength and soul. 

Our thoughts are with his family and friends at this most difficult time.


Wednesday, 26 August 2020

The Watchers Film Show: Video Game Movies


Our latest podcast is now available!


In this episode, we discuss video game movies: the good, the bad, and the downright WTF?! 

From films featuring classic video game characters to knockdown drag-out beat-'em-ups, via horror and some old-school retro gaming, we talk about the inherent differences between the mediums of video game and movie and talk about some video game properties we'd like to see make the leap from the small screen to the big screen.  

What are your favourite (or least favourite) video game movies? Which games would you like to see get the movie treatment? Let us know below!

If you'd like to read Tez's feature on the troubled production of Super Mario Bros., please click here!


Sunday, 23 August 2020

News from DC FanDome


Yesterday (August 22nd) saw the first DC FanDome- a DC-themed "immersive virtual fan experience" discussing all things comic books, TV shows, video games, and- of course- movies. When this year's Comic-Con was cancelled, DC announced their own online convention. At the Hall of Heroes, there were various panels and discussions on all things DC.

There's a lot of news that has come out of the event, so here's a round-up of what's coming up in the DC Movies Universe.


WONDER WOMAN 1984


Director Patty Jenkins (Wonder Woman, Monster) was joined by Gal Gadot (Diana Prince/Wonder Woman), Kristen Wiig (Barbara Minerva/Cheetah), Pedro Pascal (Maxwell Lord), and Chris Pine (Steve Trevor) to kick off the FanDome by chatting about Wonder Woman 1984.

Sharing a couple of behind-the-scenes stories, Chris Pine revealed that the production was able to shut down Pennsylvania Avenue in Washington to film a particular scene, whilst Kristen Wiig shared that- during one of the big fight scenes she has with Gadot- her Cheetah wig got torn off her head when it got caught in one of Gadot's bracelets. There was also a lovely appearance at the panel by OG Wonder Woman Lynda Carter. I really hope they get her a cameo in WW84.

The panel ended with a superb new trailer for the film, in which (among other things) we get to see more of Kristen Wiig's transformation into Cheetah:


Later in the event, several other cast members of WW84 came to join the main cast and crew for a game of Werewolf: Connie Nielsen (Hippolyta), Robin Wright (Antiope), Jessie Graff (Amazon Competitor), Jonathan Ayaji (Emerson), Ravi Patel (Babajide), and Kelvin Yu (Jake).

WW84 is due for release in October 2020.


THE FLASH


In a very brief panel, the main crew of The Flash movie- director Andy Muschietti (Mama, It), producer Barbara Muschietti, and screenwriter Christina Hodson- joined star Ezra Miller for a quick blast through the history of the Scarlet Speedster and dropped some intriguing hints about what to expect from the film.

As well as sharing some badass concept art of the Flash's new suit, hints were dropped that it will be a time-travel story which will open up the DC Multiverse. So, Flashpoint in all but name then?

Andy also dropped an interesting hint about the Flash's new garb- it was made for him by Bruce Wayne. But I guess the question is: which one? Will it be Michael Keaton's iteration... or Ben Affleck's? It was confirmed this week that Affleck will don the Batsuit for (probably) the last time to reprise his role as the Dark Knight in The Flash movie.

All very intriguing...


THE SUICIDE SQUAD


James Gunn headed an absolutely raucous panel for The Suicide Squad, which not only confirmed who a lot of the cast will be playing but also dropped a couple of interesting little teasers as to what to expect from the film, still currently slated for release on August 6th 2021.


First up, joining returning cast members Jai Courtney (Captain Boomerang), Viola Davis (Amanda Waller), Joel Kinnaman (Rick Flag), and Margot Robbie (Harley Quinn) are a veritable smorgasboard of wrong'uns.


In no particular order, some of the new members of the Squad are:

  • Michael Rooker as Savant
  • Flula Borg as Javelin
  • David Dastmalchian as Polka-Dot Man
  • Daniela Melchior as Ratcatcher 2
  • Idris Elba as Bloodsport
  • Steve Agee (and John Economos) as King Shark
  • Mayling Ng as Mongal
  • Peter Capaldi as The Thinker
  • Alice Braga as Sol Soria
  • Pete Davidson as Blackguard
  • Nathan Fillion as TDK
  • Sean Gunn as Weasel, and
  • John Cena as Peacemaker


Also cast in the film are:

  • Juan Diego Botto as El Presidente General Silvio Luna
  • Joaquín Cosío as General Mateo Suarez
  • Jennifer Holland as Emilia Harcourt, and
  • Storm Reid as Tyla (Bloodsport's daughter)


As for what to expect? It's been likened to a 1970s war movie, will be a huge special effects extravaganza (according to Gunn) who has also said the studio is "overwhelmingly happy" with the film. He also made some comments about this being the best film he's worked on, so make of that what you will...

I'm excited to see how Gunn balances so many new characters, plus I can't wait to see Peter Capaldi, Nathan Fillion and John Cena in action! Here's the poster, by the way. It's definitely got a Dirty Dozen kind of vibe to it...



JUSTICE LEAGUE: THE SNYDER CUT


The saga of the Snyder Cut has been rumbling on since Justice League's release. Snyder had to step away from Justice League due to a terrible family tragedy, and the highers-up at DC brought Joss Whedon in to complete the film. Ever since then, there's been a fan movement to see Snyder's vision for the film (which, it's fair to say, is very different to what actually got released).

Fans signed petitions, started fundraisers, and even took out a billboard in Times Square to ask for the Snyder Cut. Earlier this year, it was confirmed that HBO had struck a deal and what was once the fever-dream of the Internet is now very much a reality.

In the panel, Snyder took some questions from the Justice League cast, and then spoke to two fans- Fiona Zheng and Dexter Washington - who were instrumental in getting the Snyder Cut movement started.

So, what do we know about The Snyder Cut so far? Well, Snyder has stated that there'll be "something" involving Flash's abilities which will be something new. He's also going to be fleshing out Cyborg's role. It's initially going to be released in four one-hour parts with a later option to watch it as a whole. They are also looking for an international distribution deal so people outside the US and those who don't have HBOMax can get to see it.

The panel ended with a trailer for the new cut:


"He's never fought us. Not us united." I defy anyone not to get chills after watching that.

Justice League: The Snyder Cut is due in 2021.


BLACK ADAM


There was a fantastic animated teaser (made by Jim Lee, Boss Logic, and Dwayne Johnson) to introduce and explain a little about who Black Adam is, before Johnson took to the virtual stage to discuss the film.

The pitch was light on details- as Johnson said, things are still in the early processes- but he could share a few things about the character and the film. It's going to be Adam's origin story and it will stay true to his anti-hero nature: Adam believes in an eye for an eye and will still be the "ruthless keeper of justice" he's been in the past.

Johnson also spoke with his co-star Noah Centineo, who is playing Atom Smasher, and got a couple of details about that character's journey; he has something to prove because of his lineage, he has a spirit to help, and this will be his first mission. It's also handy that he can transform into the size of the Empire State Building!

One of the main things that was confirmed is that Black Adam will show the Justice Society of America (JSA) for the first time in the DC Film Universe. Atom Smasher is one of the members, with other confirmed members being Hawkman, Doctor Fate, and Cyclone. No casting has been announced for anyone else as yet. 

Directed by Jaume Collet-Serra (House Of Wax, Orphan, The Commuter), principal photography is expected to begin in early 2021 for a scheduled release date of December 22nd 2021.



SHAZAM!: FURY OF THE GODS


There was a short panel about Shazam!'s "bonkers, awesome sequel", with Zachary Levi (Shazam), director David F. Sandberg, Asher Angel (Billy Batson), Jack Dylan Grazer (Freddy Freeman), Faithe Herman (Darla Dudley), Meagan Good (Super Hero Darla) and Adam Brody (Super Hero Freddy).

There wasn't a lot of information they could give, but there was one thing they could share: the title of the sequel is Shazam! Fury Of The Gods. Originally scheduled to release in April 2022, due to the COVID-19 pandemic, it's been pushed to November 2022.


THE BATMAN


The final panel of the event was all about The Batman. Director Matt Reeves was interviewed by Aisha Tyler to discuss the film.

Reeves confirmed that the film takes place in Year Two of Batman's career. He's in the early days of being the Caped Crusader- so it won't be an origin story (let's face it, we don't NEED to see that again). The series of murders which happen brings to light the whole world of corruption within Gotham and the history of the city, and where the Wayne family sits within that. It's also a detective story and mystery, and will focus on the World's Greatest Detective aspect of the character.

The film also deals with the nascent development of several members of the Rogues' Gallery, with The Riddler (Paul Dano), The Penguin (Colin Farrell), and Catwoman (Zoë Kravitz) at the beginnings of their own trajectories. Reeves cited Chinatown, The French Connection, and Taxi Driver as influences on the style of the film and confirmed that it will link to the Gotham PD TV series currently being developed (which will be set in Year One and dive into the corruption within the police). He also confirmed that they had shot approximately 25%-30% of the film before the COVID-19 pandemic shut them down.

They also shared the first teaser trailer:


And in case you're wondering, this is the Penguin:


I think the make-up team might be getting an Oscar nomination for this film, just sayin'. The Batman will be released in 2021.



All said, the DC FanDome event was a real success. It was slick, interesting, and a lot of fun and they really whetted the appetite for future DC properties (given current circumstances, that was a very canny move). 

No panel lasted longer than 30 minutes- meaning they could clip through various properties and genres without ever getting too bogged down, and people who weren't interested in, say, the games or the TV series didn't have to wait too long until something that did appeal. 

Having a mix of things, like the cast of WW84 playing Werewolf, or a music set by Chris Daughtrey, or a panel discussing females of colour in the DC Universe was also a good thing. The rolling programme was repeated throughout the 24 hours, so you could also get to see it at a reasonable time.

I'd definitely take the time to watch another one of these in the future. Which is lucky because DC FanDome: Explore The Multiverse is coming on September 12th! Should be worth checking out!

Friday, 21 August 2020

Super Mario Bros. (1993)


If you've listened to our latest podcast, you'll know that- on our next show- we'll be discussing movies based on video-games. Not really giving any spoilers away, but one film that does get mentioned is Super Mario Bros.; it would be remiss of any discussion of video-game movies not to talk about the first film to be based on a video-game franchise. 

Put simply, Super Mario Bros. is... a mess. It's tonally all over the place. The script doesn't really make a lot of sense. Aside from a couple of decent performances and some intriguing visuals, it is not a good film. It's also not a good example of how to adapt a video-game to a movie.

But...when you realise what was going on behind the scenes, the strife and the stress of the production itself, you can kind of understand why the film looks and feels like it does. It doesn't excuse a single thing you see on screen, but you get a sense of what the filmmakers were up against. 

So, strap yourselves in for a fascinating story of Oscar-nominated producers, clandestine rewrites, a pair of micromanaging directors, a febrile atmosphere on set (which led to a three-hour rant by a very pissed-off actor), and reviews so bad that they essentially killed careers. Let's go!


IT'S-A ME, MARIO!



Let's start at the very beginning. For those who may not know [hey, it might be possible], Mario (originally known as Jumpman) is a character created by Shigeru Miyamoto as the hero in arcade game Donkey Kong (1981). He was eventually spun out into his own series of games- which added a whole array of new characters, including his brother Luigi- which were released on various platforms by Nintendo

The plot of the 1993 film goes like this: Mario and Luigi are two plumbers from Brooklyn who find themselves transported into an alternative dimension (where the citizens evolved from dinosaurs) to help save a palaeontologist called Daisy from the clutches of the evil lizard King Koopa, and to stop their reality from being taken over by the dinoworld. 

You might be wondering how you get from jumping over barrels to saving the world from dinosaur-evolved creatures. Well, here's how it happened...


LIGHTMOTIVE PRODUCTIONS

To make something of a potentially unfair generalization, most video-game movies don’t exactly have esteemed directors or producers behind them (e.g. Uwe Boll and Paul W.S. Anderson).

Roland Joffé (left) and Jake Eberts (right)
But Super Mario Bros. had two very unlikely forces behind it:  Roland Joffé (the Oscar-nominated director of The Killing Fields and The Mission) and Jake Eberts (producer of Chariots Of Fire, The Killing Fields, and Dances With Wolves). 

Joffé had noticed the enormous success of the Super Mario games- as they were usually bundled in as part of a Nintendo console set-up- so he knew it would only be a matter of time before Hollywood would come knocking on Nintendo’s door to make a pitch for a film. So, he and Eberts got in there first.

In 1991, Joffé had a meeting at Nintendo of America with then-president Minoru Arakawa (who was also son-in-law of Nintendo supremo Hiroshi Yamauchi). He presented a movie pitch with some illustrations and a rough storyline. Arakawa seemed impressed by the presentation- as it seemed to provide a viable solution to the inherent issue of the games not really having a scriptable plot- but when he told Joffé that other studios had offered up to $10m for the rights, Joffé’s response was “We could probably run to $500,000”. 

Under usual circumstances, he should have been kicked out of the office for offering such a paltry sum. But he wasn’t. Joffé describes Arakawa’s reaction as “a rather monkish sort of smile: amused and rather touched.”


A month later, Joffé flew out to Nintendo’s corporate headquarters in Kyoto and waited for a call. And waited… and waited… In the interim, he visited Nintendo’s offices and met Shigeru Miyamoto (creator of the games). He also visited ancient Japanese temples and discussed Japanese mythology. After 10 days, he got the call and he went to meet with Hiroshi Yamauchi himself. 

He pitched Yamauchi a storyline involving Mario, Luigi and a host of dinosaurs. ''I went with a storyboard and story outline... 'I said, `This won`t be the story, but it`ll be a story that contains some of these elements.` I was improvising.'' He also knew that he wanted to make Mario and Luigi real people, not computer-generated or animated cartoon figures. But one statement that Joffé made would come back to bite him, and the production, as a whole: “We’re not going to do a sweet little lovey-dovey sort of story. It’s got to have an edge to it.’ Careful the things you say...

When Yamauchi quizzed him why Nintendo would want to sell the rights to a boutique producer instead of a major studio, Joffé argued that Nintendo would have more control over the finished product – although it turned out that the company actually had little interest in that. To them, this was an experiment, “some sort of strange creature that was kind of rather intriguing to see if we could walk or not”. (Although as part of the deal, Nintendo did retain merchandising rights) 


And so it was done. Nintendo sold Joffé and Eberts the rights for $2million (a lot less than they could have got for them). Hollywood was in uproar that Lightmotive, an infant production company, had got the rights for one of the most sought-after brands of the 1990s. But at the most basic level, Lightmotive had paid $2 million for three words: ''Super Mario Bros.''

Where do you go from there?


THE SCRIPT 


You'll have heard me banging on about this on the podcast before, but the script is fundamental. It's your blueprint and, if you don't have a stable foundation, the house isn't fit to stand.

It's no exaggeration to lay a fair chunk of the blame for the utter trainwreck at the writer. Well, writers. A total of nine writers worked on the script, although there are only three of them credited: Parker Bennett & Terry Runté and Ed Solomon.


But, like a lot of things with this film, there are some unexpected names that come up when you look at the history of the screenplay. The first being: Barry Morrow.

That name might not mean much to you, but you'd know his work: in fact, in 1989, he won the Best Original Screenplay Oscar (along with Ronald Bass) for Rain Man. So once Roland Joffé got the rights to make the film, he hired Morrow based on the strength of that screenplay. I mean, the guy can certainly get to the heart of the relationship between brothers.  

Morrow initially envisioned the film to be an origin story (virtually unheard of in the early 1990s), “gamelike in its silliness” but with the relationship between Mario and Luigi at its heart. This led to the script being nicknamed "Drain Man". Ultimately, Morrow’s screenplay was never used and- in fact- never even completed; a courier arrived to pick up the script with Morrow still to write the final scene. 

If Morrow’s screenplay invoked Rain Man, the next writers- Jim Jennewein and Tom S. Parker – produced a script which mixed The Wizard Of Oz and Shrek. It featured a journey into a new world, and subverting and satirizing fairy tale clichés, whilst focusing on the relationship between the brothers. 

Screenwriters Terry Runté (left) and Parker Bennett (right)
The next screenwriters, Parker Bennett and Terry Runté, were tasked with balancing comedy with the darker tone, in the same vein as Ghostbusters. Despite working well with the directors, Bennett and Runté were dismissed by the producers for being too comedic. 

The next set of writers to assay the script are also a surprise: British writing partnership Dick Clement and Ian La Frenais were asked to flesh out the story and characters- expanding the roles of Princess Daisy and Koopa’s consort Lena- and provide a more adult tone. UK readers will know Clement and Le Frenais as writers for Whatever Happened To The Likely Lads?, Porridge, and Auf Wiedersehen, Pet. They also wrote the screenplay for Alan Parker’s The Commitments. It was this script that started bringing actors on board. With this draft in place, the film officially moved into pre-production.

There's a lot more to say about the script issues- which directly impact on production issues- but for now, we'll shift away from the writers and look at the power behind the cameras...


IN THE DIRECTOR'S CHAIR(S)

Greg Beeman (License To Drive) was originally attached to direct, but was dismissed by producers after the dismal performance of Mom And Dad Save The World. Joffé then offered the role to Harold Ramis (Caddyshack, Groundhog Day), who declined. Danny DeVito was also considered to direct at some point. Roland Joffé admitted “I felt the project was taking a wrong turn [...] And that's when I began thinking of Max Headroom." 


Max Headroom was a wise-cracking computer version of a crusading TV reporter (played by Matt Frewer) who appeared in his own TV show which played on Channel 4 in the UK. The show was created by Annabel Jankel and Rocky Morton. a husband-and-wife team from London, who- aside from Max Headroom- directed music videos for Elvis Costello & The Attractions, Talking Heads, and Rush, as well as producing adverts (their ad for Pirelli Tyres was the world’s first fully computer-generated commercial). 

Their innovative and inventive approach to technology was what Joffé was looking for, despite their only feature film directorial credit being the 1988 remake of D.O.A., starring Dennis Quaid and Meg Ryan. So the pair was signed on to direct. They also suggested the alternate Dinohattan theory which made it into the script.  

“We weren’t wildly enthusiastic gamers,” says Jankel. “I don’t think either of us had ever fully involved ourselves in the game at all, which might have had something to do with the end result. We played it for research. It’s a bit like if you’re doing an adaptation of something, you do your due diligence. But it’s not like we were up all through the night playing it.” 


CASTING


One of the few things the film has in its favour is the cast. However, the film could have looked very different indeed if some of the original casting considerations had gone ahead. 

For me, one of the most surprising names to come up was Dustin Hoffman. He expressed interest in playing Mario, as his children was “Nintendo maniacs” and wanted to impress them. Executives were interested in Danny DeVito to play the main role; DeVito entertained talks but ultimately chose to concentrate on directing and co-starring in Hoffa. Other actors considered for the role were Bruno Kirby and Cheech Marin. 

Tom Hanks was considered for the role of Luigi, but a string of recent box-office failures dropped him from consideration (bear in mind, this was before Hanks’ double Oscar win), whilst Arnold Schwarzenegger, Michael Keaton, and Kevin Costner turned down the offer to play King Koopa.

Ultimately, Bob Hoskins and John Leguizamo were cast as Mario and Luigi respectively, Samantha Mathis was cast as Princess Daisy, whilst Dennis Hopper took the role of King Koopa. Acclaimed film and stage actress Fiona Shaw signed on to play Koopa’s consort Lena, while Fisher Stevens and Richard Edson were cast as Koopa’s sidekicks Iggy and Spike.  


PRODUCTION

So, you have a top-drawer cast including two Oscar nominees (Hoskins and Hopper), and a crew chockful of talent: including Roland Joffé (producer), Fred Caruso (co-producer), Alan Silvestri (composer), David L. Snyder (production designer), Mark Goldblatt (editor), Chris Woods (special effects), and Peter Levy (cinematographer). 

This all begs one simple question: what went wrong?


Production on Super Mario Bros. began in 1992. They immediately set about creating ‘Dinohattan’ (the alternate reality New York where Koopa rules) inside the large Ideal Cement Factory in North Carolina, where Terminator 2: Judgment Day shot its finale [it had also been used for the 1990 Teenage Mutant Ninja Turtles movie and would go on to be used in The Crow]. Snyder was brought on to echo his acclaimed art direction for Blade Runner, with Dinohattan’s dark alleys, neon-signed streets, and yellow cabs powered by overhead cables.

The production was haemorrhaging money, so the producers had to look for additional investors. However, due to the more adult tone of Clement and Le Frenais’ script, family-friendly studios weren’t prepared to back it. Under pressure to make the project more appealing (especially as a deal had been struck with Disney for the distribution rights), Joffé hired screenwriters Ed Solomon (co-writer of Bill & Ted’s Excellent Adventure) and Ryan Rowe (who went on to write The Computer Wore Tennis Shoes and the 2000 Charlie's Angels movie) to add more comedy to the script.

But here’s the issue: neither the cast nor the directors were made aware of what Solomon and Rowe had rewritten in the script (or, what Morton would call, “dewritten”). 

And they only found out when they arrived in North Carolina to begin filming. 

They turned up, to be presented by a revised script that didn’t match anything they’d been working on in pre-production. Morton says "I had storyboarded the entire film from beginning to end from the original scripts, and when the new script came in it didn't match any of my storyboards. I remember ceremoniously burning them in a car park and saying 'okay now we're flying from the seat of our pants.'"


On reading the new script, Jankel and Morton were unimpressed and wanted to quit the project. However, they decided to stay as “we knew all the characters and could piece the new puzzle together. We decided to soldier on and rectify the film as we carried on”. They were also in an unenviable position of having to “defend” the new script to the equally unimpressed cast, and encourage them to stay on. With what I can only describe as masterful understatement, Morton describes that as “very awkward, and uneasy, and difficult.”

It was the quality of the Clement/Le Frenais script that had secured Hoskins, Shaw, and Hopper to the project. The script they were now given didn’t resemble that script at all. Moreover, rewrites were coming thick and fast, not just from Solomon, but from previous writers Parker Bennett and Terry Runté who were rehired after Solomon left after they visited the Wilmington set on a whim! This gave rise to what has been called “the rainbow script”, and is described by LA Times journalist Richard Stayton as: “thick as nearby Wilmington’s phone book, rainbow-colored with rewritten pages. The only page color missing is the original draft’s. No white pages remain.”

Stayton’s set report- published on August 16th 1992- pulls no punches about the fractious nature on-set. The cast and crew’s disparaging nicknames for the directors- which included “Rockabell”, “Rocky and Annabel, the Flying Squirrel Show” and “The Hydra” – and the world-weary reaction of the film’s stars to the constant rewrites is writ large in the piece. One particularly damning quote comes from Shaw who laments “The first script I got was witty… that was maybe 10 scripts ago. Now they’re talking about taking a bath with worms.” (and yes, in the completed film, there is a scene where Hopper and Shaw are in a bathtub of mud). Interestingly, a report by Michael Specter of the New York Times, also published on August 16th 1992, makes no mention about any on-set tensions, instead focusing heavily on the production design, set decoration and art direction by Snyder and his team Beth Rubino and Walter Martishuis.


With so many forces pulling in so many different directions (Joffé still wanted a film in the same gritty, more adult mould that Jankel and Morton wanted to make, but whereas he was prepared to compromise to get the money in to get it made, the directors were less willing to do so) and everyone seeming to be working at cross purposes, it’s no surprise that the working environment on set was difficult.   


Morton describes one such awkward on-set moment thus: “We had an order that we were gonna shoot everything in and we were building the sets accordingly, and because we had to shoot it in a different order because of the way the script was, I can remember [one of the sets] not being ready — [it was] half built and the paint was still wet, and the only way I could shoot the scene was on a long lens looking in one direction. If I pointed the camera off you could see that the set wasn’t completed, so there were things like that. And I can remember asking Dennis Hopper “Please walk this way, because if I pan the camera this way you’re gonna be off the set,” and then we had this argument about it. Things like that, it would just go on and on and on, there were just so many problems. It threw the film into chaos, basically.”


Richard Edson also describes one particularly tense day where Hopper- frustrated at the rewrites to the script- let loose a tirade of profanity and insults to Jankel and Morton on set. He was still going 45 minutes later. With 300 extras standing around waiting to film, and no real clue how to handle the incandescent Hopper, they called lunch. Lunch turned out to be two more hours of Hopper tearing the directors and producers a metaphorical new one. Eventually, after some placating- which involved offering Hopper to rewrite the scene or go back to an original draft- Hopper agreed to do the scene as written. The entire debacle lasted three and a half hours and not a word was changed.

Director of Photography Dean Semler
It seems that Jankel and Morton’s obsession with minutiae didn’t help matters. Joffé recalls finding the directors and cast locked in a script meeting in the middle of shooting over a scene that was just 11 lines long. There was also a change in major crew during shooting: Peter Levy was fired as cinematographer after the production team were unhappy with his work, and was replaced by Dean Semler (who had won an Oscar for Dances With Wolves). Within less than a week of joining, Semler contacted Levy and said that he regretted signing onto the movie. Such was the level of Jankel and Morton’s micromanaging, they gave Semler a list of camera setups for the week’s shoot, plus specific lenses and light readings, to the point of even specifying the aperture the camera had to be at. Semler responded to this with a simple question: “Why’d you hire me?” 


Stayton’s set report also says that “just this week an audio-animatronic dinosaur named Yoshi had arrived and had to be integrated into the story.” Lead creatures designer and supervisor Patrick Tatopoulos, aware of the upcoming Jurassic Park, consciously designed the creatures to look cuter and more cartoonish. Four versions of the Yoshi puppet were built: a stand-in, a wireless model, a half-puppet for the tongue, and a fully functional model. The fully functional puppet utilized 70 cables and nine operators, costing $500,000. Of course, you can’t really have a Super Mario film without Yoshi- they’re one of the most iconic characters in the franchise- but, to me, that sums up one of the major issues the film has: spend lots of money on something and then shoehorn it in to the plot, coherence be damned. 

Principal photography of the film began on May 6th 1992, and wrapped on July 27th 1992 (approximately a 12-week shoot). Contrary to some reports, Jankel and Morton completed the contracted shooting of the film, although there was an additional three weeks of reshoots- done by Director of Photography Dean Semler and several second unit directors. When it came to post-production, Morton claims he was locked out of the editing room and they had to appeal to the Directors’ Guild Of America (DGA) in order to get access to it. Morton also said: “I tried to get the editor to cut it digitally, but they refused. They wanted to edit on Moviola and Steenbeck machines, so the process was laboriously slow, which didn't help us get the special effect cut in on time".


Despite Hopper describing it as “a nightmare, very honestly”, Samantha Mathis was more conciliatory, stating “I had a fondness for both Rocky and Annabel, I just felt like the production was so much bigger than anything they’d done before”. The final word on the production should, I think, go to Morton for another of his massive understatements: “It was a tough schedule. It was a big project. It was just very, very difficult.”


AFTERMATH


Premiering over Memorial Day weekend of 1993 on 2,000 screens across the U.S., the film ended up fourth at the box office, bested by Dave, Made in America, and Cliffhanger. It was also released just two weeks before Jurassic Park, so pretty much disappeared quickly. The Box Office only had room for one film where actors engaged with animatronic dinosaurs. 

It didn’t help that it got a bit (well, a lot) of a kicking from the critics. Stephen Garrett wrote in Time Out “It will baffle kids, bore adolescents, and depress adults.” Not only did Roger Ebert and Gene Siskel give it the dreaded "two thumbs down", it also made it onto their list of the worst films of 1993. Michael Wilmington for the Los Angeles Times wrote “like a video game itself, when it’s over, the screen goes blank, the mind goes blank”, whilst David Denby’s scathing review in New York Magazine bluntly stated that the directors “demonstrate no talent whatsoever for the narrative art of feature movies” and that the film is “stunningly dull” with “literally nothing for children to get involved in or enjoy in this smash-palace fiasco”. Ouch. 

There were some reviewers though, that saw some of the positives: Mark Caro, for the Chicago Tribune, noted that, despite the “loose threads, missed opportunities, inconsistencies, [and] wildly uneven jokes… the movie's no stinker” and praised Hoskins’ and Leguizamo’s performances.  Hal Hinson of the Washington Post praised the film's "rambunctious toss-away spirit" and said it was "sweet and funny and full of bright invention". The New York Times’ Janet Maslin stated that “its special effects are well executed even when their purpose is less than clear”, that Hoskins “can handle any role with grace and good humor”, Mathis and Leguizamo “make likeable ingenues” and Hopper was “alarmingly natural… [and] seems entirely comfortable with everything he has to do here”. Hopper’s on-set behaviour clearly wasn’t brought to Maslin’s attention…

Ultimately, it didn’t do the business at the box office, grossing $20 million in the US, against a production cost of $50m (that doesn’t include marketing costs) and an estimated worldwide gross to approximately $35.3m. However, it was one of four Disney films under consideration for the Best Visual Effects award at the 66th Academy Awards (with the nomination eventually going to The Nightmare Before Christmas).


It remained something of a bête noire for Hoskins; in a 2007 interview with the Guardian, he said “the whole experience was a nightmare”. When interviewed by the same paper in 2011 and asked what the worst job he’d ever done, his biggest disappointment, and what he would change about his past, his answer to all three questions was… Super Mario Brothers.

Whilst the majority of the cast came out of the ordeal relatively unscathed, the same cannot be said for the directors. It would be 25 years before Annabel Jankel directed another film (2018’s Tell It To The Bees), although she had directed for television in the interim. Rocky Morton’s filmography only shows some music videos and shorts after Super Mario Bros. In an interview, Morton waxed lyrical about the experience saying “Video games just aren't movies… That's the biggest challenge. You're shoehorning something, you're trying to fit a square peg into a round hole. You have to come up with a clever take on it that oils the wheels of storytelling. You have to be inspired by the video game and then make something that's true to the movie genre."

Shigeru Miyamoto
Interestingly, Shigeru Miyamoto had this to say about the film: “it was a very fun project that they put a lot of effort into… The one thing that I still have some regrets about is that the movie may have tried to get a little too close to what the Mario Bros. video games were. And in that sense, it became a movie that was about a video game, rather than being an entertaining movie in and of itself."


Despite all the issues, Roland Joffé thinks well of the film: "In its own extraordinary way, it was an interesting and rich artefact and has earned its place. It has strange cult status." However, he never heard what Hiroshi Yamauchi or Nintendo thought of the finished product. "They never phoned up to complain," Joffé says. "They were very polite, Nintendo."


What a story! Hopefully, this has whetted your appetite for our video-game movies podcast, which will be with you shortly.