Fandom
Information
The web site FANDOM
recently conducted an extensive interview
with the director of Ghosts of Mars, John
Carpenter.
My favorite line from the interview:
"There's a siege on a jail, fights on
a train, battle sequences. Lots of physical
training for everyone....Joanna Cassidy's
character makes an escape in a modified weather
balloon and travels across the Martian landscape
in it. But no zeppelins. No cheesy spaceships.
None of that stuff." 8.17.00
GHOST
OF MARS: John Carpenter Interview
The director discusses his upcoming science-fiction
film, currently in production.
Author: John Thonen
Date: 9/7/00
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John Carpenter summoning the GHOSTS
OF MARS
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The Internet has become
an amazing source of information on past,
current and upcoming films, but, the net's
very nature has also made it a breeding ground
for gossip and misinformation, particularly
for actors and filmmakers with strong cult
followings. One such director, John Carpenter,
took time from the busy tasks of his upcoming
film, Ghosts of Mars, which began production
in August, to share some straight-from-the-source
facts with Fandom denizens about his latest
project.
One inaccuracy that recently
surfaced about Carpenter's upcoming science
fiction-action-horror hybrid regards the film's
title. While long reported in the plural form,
some Internet postings have suggested that
parent studio Sony/Columbia (through their
newly revived Screen Gems division) had changed
the title to a singular supernatural entity.
"Nope," says the always laid-back Carpenter.
"Many, many ghosts. They're pretty much all
over the place."
Carpenter also shares
the names of key cast members, laying rest
to reports of Whoopi Goldberg's involvement.
"Whoppi was approached, and she was interested,"
Carpenter tells us. "But it just didn't come
together." The director declines to share
what Goldberg's role might have been, explaining
that "I don't want to hurt anyone's feelings
by letting them know they were the second
choice for the part."
The rest of the cast is
largely made up of performers on the cusp
of major stardom. Rapper turned actor Ice
Cube tackles Desolation Williams, whose
very name conjures up such past Carpenter
anti-heroes as Snake Plissken. Coming on the
heels of Cube's critical success in Three
Kings and commercial success in Next
Friday, GOM might just be a star-making
vehicle for the performer.
The film's female lead
held similar breakthrough potential for another
musician-turned-actor, Courtney Love, at least
until late July. Love was set to play Melanie
Ballard, a Martian cop in pursuit of the
notorious Desolation Williams. Unfortunately,
the actress injured her ankle during training
for the rigorous fight scenes, and for a short
time the film's start, scheduled for early
August, seemed threatened by Love's sudden
departure. Thankfully, Carpenter managed to
sign Natasha Henstridge (Species) and
the production is back on track.
Carpenter's story (co-written
with Larry Sulkis) presents Melanie as something
of a rebel within the matriarchal society
that dominates the Martian colony. Despite
her position of authority, Melanie's willingness
to sleep with men, and even bear their children,
makes her nearly as much of a social outsider
as Williams.
The third lead character
is Jericho Butler, played by British
actor Jason Statham, from the sleeper hit
Lock, Stock and Two Smoking Barrels.
Carpenter described Jericho as "a seasoned
cop on his first escort squad assignment."
He adds that the character is an expert at
lock-picking and fixing machinery, skills
that will likely come into use in the film's
adventure tale.
Also featured are Blade
Runner femme fatale Joanna Cassidy, as
science officer Darlene Whitlock and
Clea Duvall as Bashira Kincaid. The
busy young actress (whom Fandom readers may
best recall as Stokely, the morose outsider
in Robert Rodriguez's The Faculty)
joins GOM's cast as a rookie cop on her first
Mars assignment. Carpenter says that Duvall
generally plays "geek girls," but she will
be opening some eyes through her character.
"None of that in this film," he states. "She's
a lioness in this one."
Carpenter is notably excited
about his cast, admitting that Jason Statham
had been his original choice for the Desolation
Williams character and that he was briefly
"a little unsure at first" when Screen Gem's
urged him to give the part to Cube. "When
he came in and we started talking about the
character, he had some great ideas. He's a
very interesting and smart man. Very focused
on what he's doing. I'm very happy to have
him."
Carpenter also feels that
the change benefited the story. "Originally
it was Desolation and Melanie, and we did
a rewrite and expanded the Jericho character
for Jason, and that really changed the dynamic.
I think it's better than what it was originally."
Carpenter had also been pleased by Courtney
Love's involvement, describing her as "a fascinating
person." Her replacement by Hentsridge, likely
demanded some minimal rewrites, but long time
screenwriter Carpenter is more than up to
the job.
"There's a siege
on a jail, fights on a train, battle sequences.
Lots of physical training for everyone....Joanna
Cassidy's character makes an escape in
a modified weather balloon and travels
across the Martian landscape in it. But
no zeppelins. No cheesy spaceships. None
of that stuff. "
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For his crew, the director
has rounded up such common Carpenter collaborators
as actors Pam Grier and Peter Jason, co-producers
Debra Hill and Sandy King (Mrs. Carpenter
in real life), cinematographer Gary Kibbee,
makeup effects house K.N.B., and stunt coordinator
Jeff Imada, who will likely be kept busy considering
Carpenter's description of his movie. "There's
a lot of action in this film. A lot
of action. There's a siege on a jail, fights
on a train, battle sequences. Lots of physical
training for everyone. Jeff has them all out
there right now, learning how to kick ass."
Carpenter says that no
decision had yet been made on who would be
handling the film's visual effects, sharing
only that "There'll be effects, but the effects
have to serve the story. Not the other way
around." When asked how he expected to achieve
the effects for the zeppelins that some web
sites have talked of as a mode of transportation
for the Martian colonists, Carpenter only
laughs.
"There's a zeppelin in
my film? No. There's a weather balloon. Joanna
Cassidy's character makes an escape in a modified
weather balloon and travels across the Martian
landscape in it. But no zeppelins. No cheesy
spaceships. None of that stuff."
With a major rapper in
his cast, it was only a matter of time before
the subject of Ice Cube contributing to the
soundtrack came up, earning only a noncommittal
response. "Who knows? At this point, things
like that aren't decided. I'll be scoring
it, but I certainly wouldn't be negative to
[him] contributing. I'm negative to nothing
really. I'm a very positive kind of guy."
One notable difference
between GOM and most sci-fi offerings is a
lack of emphasis on high tech, futuristic
aspects. The man behind classics like Halloween,
Escape From New York, and The Thing,
as well as 1998's Vampires, says that
"most of it takes place in this little outpost,
a frontier type town on Mars that's near a
mine. There's no trace on the surface that
there was any past civilization on the planet,
but the mines have uncovered this, well, basically
a trap."
It's Carpenter's intention
to present, not just The Angry Red Planet,
but one that's seriously pissed-off. "It's
a Land-of-the-Pharaohs [a 1956 film about
the building of Egypt's Great Pyramid) kind
of situation where these doors open and out
comes this almost unkillable evil that sweeps
across the planet. That's our dilemma. It
takes us over. You're not human anymore. You
become an ancient Martian warrior and you
gather together and start attacking. Wiping
out anything on the planet that you perceive
as an invader."
Another variation in Carpenter's
approach to his tale is that the long deceased
Martians aren't the typical highly advanced
culture found in most aliens-meet-humans tales.
"They're a barbaric tribal society. Their
race developed no high technology," the director
explains of his long extinct antagonists.
"What they developed was of the supernatural,
and this trap is their sentinel. Something
left behind to make sure their world is never
claimed by others."
Followers of Carpenter's
past work and influences have already drawn
parallels to concepts in GOM, noting that
the film's leads-two cops and one convict-are
identical to that of Assault on Precinct
13, a film that also deals with a small
band of people barricaded in a jail and battling
hordes of attackers. Even the gender and racial
mix is the same: two men, one of whom is black,
and one woman. Carpenter himself downplays
the similarities.
"...but this
one (GOM) is really closer to Zulu
[a stirring, reality-based British action
film about a handful of soldiers who successfully
repelled thousands of Zulu tribesmen]
which was also a major influence on Assault.
"
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"Well, there's a jail,
a prisoner, a barricade and an attack. So
yeah. There are some superficial similarities.
But that people barricaded somewhere' is something
I've visited a lot. It's there in The Thing
and Prince of Darkness. Every film
has it's antecedents, but this one is really
closer to Zulu [a stirring, reality-based
British action film about a handful of soldiers
who successfully repelled thousands of Zulu
tribesmen] which was also a major influence
on Assault.
"Zulu is a favorite
of mine," Carpenter continues. "There's just
something about a small group and overwhelming
odds. I like what it brings to a story and
the characters."
Another link drawn by
many is that GOM's storyline bears some similarities
to Quatermass and The Pit (a 1958 BBC
TV serial and 1967 Hammer film, titled 5
Million Years To Earth in the U.S). Carpenter
has never concealed his admiration for that
film's writer, Nigel Kneale, but he doesn't
see a strong link between the films. "All
that stuff is always in the back of my mind
from childhood, but there's a thing he [Kneale]
did for British TV called The Stone Tapes,
which has much more influence here. I read
his script for it, and it's really creepy.
It's about this cathedral, and the stones
in it hold these, spirits and images, of things
that happened within its walls in the past.
It's a fabulous idea. So I think that probably
echoed more than anything else."
When asked if the time
spent in New Mexico shooting Vampires
was part of the inspiration for GOM, Carpenter
downplays the connection. "No, not really.
I had the idea about a year and a half ago.
New Mexico certainly plays an important part
in it because there's these Indian pueblos
[the Zia Pueblo] we saw there, and the Indians
are very cooperative about letting us use
them, letting us do just about anything: stage
fights, gun battles, blow stuff up, even paint
everything red. This is Mars, so everything
has to be red, you know."
When asked how the red
planet effect will be achieved, the director
is uncommonly reticent: "If I told you what
we're using you'd be amazed. So I'm not going
to tell you. But I was stunned when I saw
the test footage. My jaw dropped. I could
believe how great it looked and how it had
been done."
Asked about the rehearsal
process, Carpenter says, "It's very important.
And there's a lot of benefits to it." Like
many directors, Carpenter`s method is to do
a read-through of the script first. "It lets
you hear your lines and hear the ones that
just thud and lie there. We do nightly rewrites
during the first week of rehearsals to adjust
for that and for the input the actors bring
to the table. Making a film is constant adjusting.
It's Darwinian. You drop what doesn't work,
and something better develops out of the process."
Pressed for examples,
Carpenter shares that "I told Cube this new
idea I had been kicking around for the ending,
and the next day he came in and he'd written
the whole thing and it was just great. So
we incorporated that. It also let's you individualize
the lines. For example, Jason is British,
has a Cockney accent. Now that wasn't the
original character, so Larry and I had to
do rewrites so the dialogue worked for him,
and we did a lot of that with Jason's involvement.
That's just being smart. But you have to get
as much of that done before you are out there
shooting. Because you have to hit the ground
running."
Pressed as to how flexible
he is with actor contributions, Carpenter
tells us, "I'm always open to ideas, to changes.
Nothing is precious about a screenplay or
about a cut. An actor can say what they want
as long as they don't change my narrative
or suddenly become a different character.
But in terms of individualizing who that character
is-if it's better than what's on the page,
I want to hear it." (That very flexibility
will likely help the director weather the
strains of adapting Hentsridge to what had
been Courtney Love's role, with little preparation
time.)
The action scenes in Carpenter's
recent Vampires, which he credited
as being influenced by western movie masters
like Sam Peckinpah and Sergio Leone, reflected
some changes in the director's standard techniques,
which he says would likely continue on GOM.
"Yeah. Probably more of things in that vein.
A lot of that depends on the characters and
how they play against each other. There's
a lot of action in this movie, and that will
require a different cutting style than some
of my older movies. It's an evolving thing."
When asked if his GOM
editing style would be closer to the rapid
fire, and at times near subliminal, editing
of young directors like Armageddon's
Michael Bay, Carpenter is at first hesitant.
"I don't know how to comment, really. I think
that sometimes it's fast just for the sake
of being fast. I didn't care much for The
Rock [an earlier Bay film], but there
were things in Armageddon that I thought
were really fun and stirring. At least until
the shuttles took off and started zipping
and zooming around like some cheesy space
opera thing. Then they lost me. The stuff
at the space station? I thought a lot of it
was just silly. And that asteroid? It was
like something out of Planet of the Vampires
[a 1965 Italian sci-fi film, often cited as
one of the inspirations for Alien).
I'm like, 'What the hell is this and how much
did it cost?' But it worked for the audience,
I guess."
Carpenter does share with
us that not all the web rumors reports about
his latest film are inaccurate. Such as the
one about the near collapse of the GOM project
a few months ago "Now that one's true. It's
a hard one to tell you about, though. This
is the first film for a new company, Screen
Gems, which I guess is to sort of be the Dimension-type
branch for Sony. Their mandate was that they
were supposed to make films under 15-million.
So, along comes this film, and it's twice
that. So there were problems right out of
the gate. There was a struggle going on over
it, and I just thought, ‘Eh, I don't want
to do this.' So I withdrew for a while. But
it got back on track, and now we're doing
it. At least this week. Next week. Who knows?"
One of the more interesting
results of Carpenter's GOM down time, were
some comments he made at the South by Southwest
Film Festival "Yeah, I had a discussion with
Robert Rodriguez and Harry Knowles about my
plans to revolutionize Hollywood, and how
to go about doing it." Citing the incredible
strides made in digital filmmaking and electronic
post-production, an enthusiastic Carpenter
says that "we can own the business. No middle
men. No money men. It can be done, and I know
how. All we have to do is go out and do it.
But I don't know how many filmmakers really
want to do it. How many will embrace it."
Carpenter suggested at
the time of the festival that he might soon
be starting a self-funded, digital project,
and the idea hasn't lost its appeal to him.
"I come from low-budget filmmaking and have
gone back and forth throughout my career making
real low ones, big ones-anything. It would
be very easy for me just because I'm a brand
name. If I made a genre film, it would sell."
The appeal to an independent
filmmaker such as Carpenter is obvious. "You'd
control the production, and you'd own the
copyright. You'd own everything. That intrigues
me because, there's a business side to me
as well. I'm not just purely a liberal hippie.
I'm a big fan of capitalism. So controlling
the copyright is a very tantalizing idea.
I'm still interested. It's something to think
about."
Meanwhile, we`ll have
to contend ourselves thinking about Ghosts
of Mars.
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