Michael Fass­ben­der plays the game for real

SFX - - Front page - Jor­dan Far­ley

In this world noth­ing can be said to be cer­tain, ex­cept death, taxes and the in­evitabil­ity that any big-screen videogame adap­ta­tion is guar­an­teed to be bob­bins. As­sas­sin’s Creed is look­ing to change that, pre­cisely be­cause di­rec­tor Justin Kurzel isn’t ap­proach­ing it as a videogame adap­ta­tion. “It’s an in­cred­i­ble, vis­ceral ex­pe­ri­ence play­ing the game,” Kurzel tells SFX. “I know it’s deeply, deeply loved, and with that comes a re­spon­si­bil­ity to find the true DNA of the brand, but at the same time it has to be dif­fer­ent from the game in terms of a cin­e­matic ex­pe­ri­ence.”

The film’s tale does take its cue from the first game, how­ever, and sees Michael Fass­ben­der’s Cal­lum Lynch saved from death row by Sophia Rikkin (Mar­ion Cotil­lard) and Ab­stergo in­dus­tries – cre­ators of the An­i­mus, a ma­chine that al­lows peo­ple to re­live the mem­o­ries of their an­ces­tors. Util­is­ing the An­i­mus, Cal­lum trav­els back to 15th cen­tury Spain, where his freerun­ning, neck-stab­bing as­sas­sin an­ces­tor Aguilar locks horns with lo­cal Tem­plars in pur­suit of a pow­er­ful arte­fact.

Kurzel, Fass­ben­der and Cotil­lard pre­vi­ously col­lab­o­rated on 2015’s rap­tur­ously-re­ceived Shake­speare adap Macbeth, and with Fass­ben­der serv­ing as pro­ducer for the first time here he was re­spon­si­ble for putting the band back to­gether. But as some­one who hap­pily ad­mits to only play­ing the game “re­cently” what drew him to the world of the hooded brother­hood? “I just thought that was a re­ally cool con­cept to start from,” Fass­ben­der tells us. “I wanted to take an au­di­ence on a fan­tasy ride; give them some­thing that sits it­self in some sort of sci­en­tific the­ory. It’s an ex­cit­ing chal­lenge.”

Don’t do it! Life’s worth liv­ing!

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