Daniel Zalewski has written a remarkably thorough New Yorker piece, Show the Monster, on Guillermo del Toro, which reinforces my relief that he was taken off The Hobbit and my belief that he was born to make At the Mountains of Madness:
But he was thinking of taking an even bigger risk, and pursuing the adaptation of Lovecraft’s “At the Mountains of Madness” — his “Sisyphean project.” He had begun sketching images for an adaptation in 1993 and had completed a script in 1998. But the project had seemed too daunting; digital effects weren’t yet good enough to render creatures that changed shape far more radically than Transformers. Then, while del Toro was in Wellington, “Avatar” was released, and its landmark effects made “Madness” seem plausible. Crucially, James Cameron, a friend, had agreed to be a producer for “Madness,” sharing his expertise in designing strange worlds. And del Toro was now less wary of making digital monsters. At Weta, he had experimented with a “virtual camera,” which allows a director to maintain a sense of physicality when filming a C.G.I. creature. “They lay out the animation, you grab a camera, and you can change the angles within that virtual environment,” he said. “One day, I ended up dripping sweat from handling the virtual camera on the motion-capture stage. This camera would be very handy on ‘Madness.’ ”
The movie would not be an easy sell, though. Del Toro envisaged “Madness” as a “hard R” epic, shot in 3-D, with a blockbuster budget. Creating dozens of morphing creatures would be expensive, and much of the film needed to be shot somewhere that approximated Antarctica; one of the most disquieting aspects of Lovecraft’s novella is that the explorers are being pursued by monsters in a vast frozen void, and del Toro wanted to make the first horror movie on the scale of a David Lean production. But a “tent-pole horror film,” as del Toro put it, hadn’t been made in years. High-budget productions such as “Alien” and “The Shining” had been followed by decades of cheaper thrills. “The natural flaw of horror as a genre is that, ninety-nine per cent of the time, it’s a clandestine genre,” he said. “It lives and breathes—‘Texas Chainsaw Massacre,’ the first ‘Saw,’ ‘The Blair Witch Project’—in dark little corners that come out and haunt you. Rarely is there a beautiful orchid that blooms.” He mentioned Hitchcock’s “The Birds”: “It was a major filmmaker using cutting-edge optical technology and special effects. It was a big-budget movie. It had Edith Head designing costumes, it had all the luxuries. And it was appealing because it had all the polished aspects of a studio film.”
Del Toro thought that nearly all his previous movies had conveyed “sympathy for the monsters.” With “Madness,” he said, he would terrify the audience with their malignancy. First, though, he needed to make Universal executives feel that, in allowing del Toro to design a creature-filled world, they weren’t being reckless—rather, they were commissioning a variation on “Avatar,” the most successful film in history. “Studios look backward,” del Toro said. “Filmmakers look forward.”
Read the whole thing.
