Quote

I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.

Paul W. S. Anderson

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Paul W. S. Anderson
Age: 59
Born: 1965
Born: March 4
Film Director
Film Producer
Screenwriter
Paul William Scott Anderson
Take
Moves
Lots
Track
Choreographed
Approach
Dolly
Fight
Cranes
Went
Slower
Fighting
Classical
Moving
Slightly

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I started doing commercials in 2008 right after we released Death Race, and the reason was that I spent two years prepping Death Race and building all these custom rigs to shoot cars in the most dynamic and exciting way.
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Every time I go to Japan and meet Capcom it is like going to see the Umbrella Corporation. You ask them things and they won't give you a straight answer about anything.
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Every movie is a commitment of a year or a year and a half. Commercials are much faster than that because they're much more contained. You can get in and out really fast, and you do a piece of work the you see the end result very quickly.
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The idea of doing a period movie, some people say, Isn't it odd that you're doing a period movie? That's a change of pace for you. And, I'm like, Not really. When you're doing a science fiction movie, it's almost exactly the same.
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The cameras were a little twitchy, and you'd get less footage and less set-ups every day. The interesting thing about it was that you just composed images in a completely different way because we had big 3D monitors on set, and you'd wear the glasses and see the image in 3D.
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I really believe in 3-D. I really think it is the wave of the future for cinema.
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When that technology becomes widespread and it's on every car on the freeways, it's going to save so many lives. Especially in America, so many people get killed in these multi-car pileups on the freeways.
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There was a lot of pressure on me as a filmmaker to raise the bar and do better than before so, you know, I put a lot of thought and energy, that's for sure.
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I think 3-D across the board both in a home format and cinema is, it's going to be very big.
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If you work with any new technology, you have to expect that it's going to be a little problematic.
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Recently, I've been loving Monster Hunter! A film conversion is currently in planning.
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I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.
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The other video game adaptation I did was Mortal Kombat, and I did that because I loved playing the games in the arcade. I play all of the Resident Evil games because I'm very much immersed in that world.
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It's all based around the idea that basically VW cars are space age. They're the worst cars to use in action movie, because all the things you want to traditionally do in an action movie they won't allow you to do, because they make you drive safely if you want to or not.
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The way it works in commercials is they come to you with the script and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it, and you're interpretation of it, but it's very much the agency's idea.
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I'm very impressed and the next movie I do I'm definitely going to use a lot of drones in it, because they're very light and flexible and fast, and there are things that you can do with them that you can't possibly do with a helicopter for safety reasons.
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When people see what real 3D looks like, they'll go, Oh, that's why I spend an extra $5 a cinema ticket. That's worth it!
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One of the reasons why Resident Evil is a very successful video game franchise, much more so than a lot of others that have fallen by the wayside, is that they have constantly evolved.
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I had this movie, Death Race, that was a passion project for me that I'd had in development for almost ten years.
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I like alternating commercials with movies, because it keeps the pace up. You can't slack on a commercial. You need to go fast. That's a terrific piece of action, I think if that was scheduled for a movie, you'd put that in for two or three days worth of work.
Paul W. S. Anderson