One of the reasons for putting out these blog posts is simply that there isn’t a lot of information out there on this film. It mystifies me. Here we have an astonishing trailer, indicating that the biggest film of 2012 is on its way, and there has been almost no publicity. The Dark Knight Rises (which, granted, would probably have had a much bigger marketing budget) was being plugged for almost a year before it finally came out.
So I find it mystifying that this amazing and mysterious trailer gets dropped in our laps, but then there is almost no other information out there. (That said, the mystery surrounding the production is one of the tantalising aspects at the moment, so I am enjoying having to dig around.)
The situation has improved a lot with the arrival of this new article for the New Yorker. It is about 8 screens worth of reading, so you may not have time to go into all of it, but the journalist seems to have been given unprecedented access to the Wachowski siblings, and has a complete overview of their career leading up to the making of Cloud Atlas.
A couple of highlights for me: one is the description of how the filmmakers are hoping to make Cloud Atlas as amibitious as 2001: A Space Odyssey was for its generation.
“ ‘Cloud Atlas’ is a twenty-first-century novel,” Lana said. “It represents a midpoint between the future idea that everything is fragmented and the past idea that there is a beginning, a middle, and an end.” As she spoke, she was screwing and unscrewing two halves of some imaginary thing—its future and its past—in her hands. If the movie worked, she continued, it would allow the filmmakers to “reconnect to that feeling we had when we were younger, when we saw films that were complex and mysterious and ambiguous. You didn’t know everything instantly.”
Andy agreed. “ ‘Cloud Atlas’ is our getting back to the spectacle of the sixties and seventies, the touchstone movies,” he said, rubbing his bald dome like a magic lantern.
The model for their vision, they explained, was Stanley Kubrick’s “2001: A Space Odyssey,” which the Wachowskis had first seen when Lana, then Larry, was ten and Andy seven.
That’s a big call to be up there with 2001, but I’m somewhat optimistic that this is the kind of project to warrant that sort of comparison. The other great moment was their description of the script-writing process.
The main challenge was the novel’s convoluted structure: the chapters are ordered chronologically until the middle of the book, at which point the sequence reverses; the book thus begins and ends in the nineteenth century. This couldn’t work in a film. “It would be impossible to introduce a new story ninety minutes in,” Lana said. The filmmakers’ initial idea was to establish a connective trajectory between Dr. Goose, a devious physician who may be poisoning Ewing, in the earliest story line, and Zachry, the tribesman on whose moral choices the future of civilization hinges, after the Fall. They had no idea what to do with all the other story lines and characters. They broke the book down into hundreds of scenes, copied them onto colored index cards, and spread the cards on the floor, with each color representing a different character or time period. The house looked like “a Zen garden of index cards,” Lana said. At the end of the day, they’d pick up the cards in an order that they hoped would work as the arc of the film. Reading from the cards, Lana would then narrate the rearranged story. The next day, they’d do it again.
And one more quote – this time about when they pitched their David Mitchell their script idea:
By August, the trio had a completed draft to send to Mitchell. The Wachowskis had had a difficult experience adapting “V for Vendetta,” from a comic book whose author, Alan Moore, hated the very idea of Hollywood adaptation and berated the project publicly. “We decided in Costa Rica that—as hard and as long as it might take to write this script—if David didn’t like it, we were just going to kill the project,” Lana said.
Mitchell, who lives in the southwest of Ireland, agreed to meet the filmmakers in Cork. In “a seaside hotel right out of ‘Fawlty Towers,’ ” as Lana described it, they recounted for the author the painstaking process of disassembling the novel and reassembling it into the script he’d read. “It’s become a bit of a joke that they know my book much more intimately than I do,” Mitchell wrote to me. They explained their plan to unify the narratives by having actors play transmigrating souls. “This could be one of those movies that are better than the book!” Mitchell exclaimed at the end of the pitch. The pact was sealed with pints of Murphy’s stout at a local pub.
The rest of the article is a fantastic read, if you’re interested in more news on the process. Given how reclusive the pair are, Aleksandar Hemon has done an amazing job getting news out of them. I should also add that while the article focuses largely on the Wachowski’s, there are comments from Tom Tykwer thrown in that give more information.
In one more bit of final trivia, apparently author David Mitchell won’t be able to attend the film premiere of his own book.