NIKO­LAJ AR­CEL

Di­rec­tor of The Dark Tower

SFX - - Reviews - Josh Win­ning

Was this a par­tic­u­larly in­tense shoot?

“Gru­elling and in­tense” are pretty much the right words, es­pe­cially on a film that doesn’t have a $150 mil­lion bud­get. And you don’t have that many days, so there were a lot of times we worked 20 hours and then went to sleep. And at the same time Idris was do­ing this film, he was train­ing for a kick­box­ing fight show!

Did you want to em­pha­sise in-cam­era ef­fects rather than CGI?

My thing is al­ways try­ing to keep it real, so I as­sem­bled a team who were all into that. We didn’t want a big, fantasy, scrolling colours, kids’ film, and it’s not like a War­craft­type fantasy film. We wanted both New York and Mid-World to feel ex­tremely real; ex­tremely grounded in re­al­ity.

Was it dif­fi­cult jug­gling all the dif­fer­ent el­e­ments?

It’s not easy. I was at a din­ner re­cently with [writer] Jane Goldman, and she said, “Oh my God, if I ever have to deal with di­men­sions or magic or su­per­heroes, I’m go­ing to kill my­self. It’s so hard with all the logic stuff.” And I said, “Oh, you know what? My film has all three!'” She gasped and went, “Oh my god, I’m so sorry!”

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