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forgottenbennetI was just going though some QotD -related stuff that you can't find except via web.archive.org and I found a few cool things but this caught my eye:
Jorge Saralegui, is interviewed (hah!) by qotd-cast.co.uk
Jorge Saralegui, the Producer of ‘Queen of the Damned’, was kind enough to grant me this interview. I was helped by Vampvan and various other members of the Forum to compile the questions. As you can see, there are quite a few revelations here! Enjoy!
If you want to read some more of his comments on 'Queen of the Damned', I've compiled a lot of his points, answering various questions on the Official Queen of the Damned Message Board,.
What attracted you to ‘Queen of the Damned’?
Having read INTERVIEW WITH THE VAMPIRE when it first came out. I loved it, but it broke my heart at the same time, because it was the vampire novel that I wanted to write. When WB asked me to read QUEEN OF THE DAMNED about twenty years later, I felt the hand of fate (albeit in a corporate glove).
In the official forum you mentioned that ‘Queen of the Damned’ is a sequel to ‘Interview With The Vampire’, but will it be billed as a sequel?
I don't know of any movies that are billed as a sequel - that is, INDIANA JONES & THE TEMPLE OF DOOM, THE SEQUEL - but WB certainly views it as the sequel to INTERVIEW. That we've changed every last actor won't affect that! It's hard for me to say the same thing, because I don't know if that's how Anne Rice sees it. I see it more as part of a series titled THE VAMPIRE CHRONICLES. It's hard to say that the story of THE VAMPIRE LESTAT follows INTERVIEW in any traditional manner. In fact, it's more prequel than sequel.
How many scripts were written and why didn’t you get Anne Rice to write the script?
Neil Jordan worked on an adaptation of THE VAMPIRE LESTAT that never saw the light of day. Our version of QUEEN probably had at least eight distinct drafts by three different writers, as well as a draft by Michael Rymer, and a scene or two by another writer.
If Anne Rice offered to write the script for free and was turned down, it either preceded my involvement with the project, or was never made known to me. I seem to recall her saying on her site that she did, but this could be way off. I do know that Anne wrote a "bible" script of all the CHRONICLES, and she may have offered that to WB.
Were there any rumours that annoyed you, ie. ‘Queen of the Damned’ going straight to video (started by E! Online)?
The straight-to-video rumor was annoying. E! Online picked it up from a web site, which got it from some troublemaker who noticed that WB had taken the movie off its 2001 release slate.
(It helped that I was in Alaska at the time, and didn't hear about it until after I returned, and the rumor had been retracted by the offending party.) The rumor that the production kept being postponed due to lack of a script and general cluelessness was also annoying, since I naturally knew the entire time that we were on schedule (as much as any movie is in preproduction). I'm talking about all the people who were rooting for November 2000 to roll around without any film rolling as well, so that the rights to the novel would revert to Anne Rice. That was never going to happen.
To what extent were you involved with the casting and general production of the film?
Casting almost always involves the director, the producer, and the studio. Michael Rymer took the lead on almost every character. The studio sometimes disagreed, but ultimately went along with his instincts. I particularly championed Stuart Townsend and Marguerite Moreau, who were the cast's relative unknowns.
I'm not sure what "general production" means, so I'll give you a rough laundry list. I was actively involved in the development of the story and the script, the casting, and the hiring of our line producer, Su Armstrong. (Su put together the crew, and ran the "business" of the movie.) I supported our general musical direction, and shooting in Melbourne. I went on just about all our location scouts, and was on the set every day. Being "on set" meant many things, but boils down to doing my best to make sure that we were making the movie we had envisioned for months. Afterward, I have been actively involved in the editing of the movie, and consulted with WB on its marketing.
In the auditions, what impressed you about Stuart Townsend who plays Lestat? And also, the same question about Aaliyah, who plays Akasha? Lorenzo diBonaventura, WB's head of production, heard about Stuart in Cannes, and passed his name along to us. I saw the opening image of RESURRECTION MAN, and knew we had found our Lestat. Why? He was pale, sexy, androgynous, cocksure, and dangerous as all hell. His audition communicated the same charisma that I felt that first moment, but for me, it was redundant. (By the way, this sort of "Hollywood" moment almost never happens to me.)
Aaliyah was actively championed by Lorenzo, who had seen her work on ROMEO MUST DIE. Michael met with her, staged an audition, and felt that her sexuality could work for Akasha. It was a matter of her feeling dangerous as well. Michael saw something that made him believe she had it, and put her to work on honing the skills she would need for such a difficult role.
What is your opinion on the costumes and set design?
Angus Strathie's costumes confirm the talent he displayed in MOULIN ROUGE. The contemporary characters all look sexy and vampiric, and the period costumes (in the flashbacks) are seductively rich. There is no question that the look of some of the Ancients is controversial, but that was a conceptual direction that we undertook as a team, after much debate, and with very clear (if complicated) reasons.
I think that Grace Walker's set design is one of the absolute triumphs of the film. I can't say enough about it. It is amazingly varied, consistently inventive, epic in scale... and all, like Angus, on a tight budget.
You mentioned in the official site’s forum, you tried Stuart Townsend and Marius with long, blonde hair, but these looks just didn’t suit them. Will we ever be able to get a chance to see photos of these early looks, maybe on the DVD or the official website? It’ll be a laugh, and it might shut up some of those who have been complaining!
That's a good idea! I'll run it up the flagpole, but don't expect anything until the movie's run is over. By the way, Marius had very long gray hair.
We already know how much research Christian Manon did for his role as Mael. How did the other actors research their roles?
I hope I'm not underestimating any of them if I say that they read the novels, saw the original movie... or not. The exception might be Aaliyah, who was already well-versed in Egyptology, and immersed herself even deeper in that field, Anne Rice's novels, and vampirism.
You were on set every day of the shoot. What was the atmosphere like? Did everyone get along okay?
The atmosphere on the set was usually one of "how are we going to get through everything that's scheduled for today?" Part of that pressure came from how long it took to properly apply the actors' make-up and costumes... particularly Aaliyah. We had the most fun when we were the most prepared, as during the week we spent in Werribee. Everyone got along okay, meaning that there wasn't a single flare-up, and many moments when you could feel the pleasure the actors felt while working with each other. Were there days when people were touchy? You bet.
Did Michael Rymer direct his own vision of this film? How much input did you and/or the studio have overall?
Michael definitely directed his own version of the film. In fact, the film was never more his than during production. Michael wanted the movie to have a contemporary raggedness, contrasted by the more traditional lushness of its period moments. You'll see that it does. He got the cast he wanted. And what compromises he made in the script were dictated by my oft-stated belief that we couldn't keep everything. If he has any regrets, it's that he wasn't able to flesh out all of the characters as much as he would have liked.
Michael and I have a very good working relationship. He knows that I support his vision, and he in turn always took my reservations or suggestions seriously. It has been a very rewarding collaboration for me; it wouldn't have been if I hadn't had as much input.
The studio has input on everything; it's how things work. I know this is hard for Anne Rice fans to believe, but WB stuck its neck out making this movie. Given the risk they took, I found them to be often helpful and reasonable overall.
We know that Anne Rice was not involved with this movie. Has the studio received any feedback from her regarding this film?
Anne Rice was much happier with the later drafts of the script than she was with the first. She approved of most of our casting, and got along very well with Stuart, who visited her once we were done filming. She liked the look of the trailer. And she has yet to see the movie.
Would you like to be involved in any future films based on The Vampire Chronicles?
I would like to produce a mini-series of THE VAMPIRE LESTAT, mainly to give something more... expected... to Anne Rice fans. And there is a movie to be made of TALE OF THE BODY THIEF, although it would be just as vexing as QUEEN.
Have you seen the final cut of the film? If so, what are your thoughts?
I think we made a beautiful, sexy, dynamic and thoughtful movie that demands close attention. Something that you don't see every day. That would be difficult to top if you handed someone a copy of the novel and told him or her to fit it into two hours. And, as with almost any film, I see missed opportunities. I regret these all the more, because I am so proud of what we did achieve.
What are your favourite scenes and characters in the movie?
I like way too many scenes to list. The entire flashback - what we see of what is written in Lestat's journal - is amazing, and probably the film's strongest section. One of my favorite images is our first view of Lestat, after his first feed in 100 years. He looks like he ate the cat's canary, and is now wondering where that cat got off to. My favorite characters are Lestat and Jesse, because they undergo a change. Marius also stands out as a fully realized character. Akasha is terrific, but remains unchanged throughout; a force of nature at its most unnatural.
What are your views of the music featured in this film? How would you describe it? How did Jonathan Davis become involved?
Jonathan Davis wanted to compose a score for a film, and liked QUEEN's subject matter. Landing someone with his level of talent and recognition was perhaps our biggest coup. At first I was apprehensive, as I didn't know what Jonathan Davis would bring to the table. The songs he wrote with Richard Gibbs turned out to be a more melodic, atmospheric version of what he does with Korn, and I found them surprisingly seductive. As for the actual score, it is surprisingly traditional, in that it gives what the scenes call for, quite strongly. Like the movie, it is highly emotional.
What would you tell Anne Rice fans to expect from this film?
Anne Rice fans should expect enough changes and omissions from the novels that they will have no choice but to view this as a creative variation on the author's work. What they will find in common with the novels is a gorgeously textured, very emotional atmosphere, and characters whose psychological concerns mirror the ones they have in the novels. The themes we explore are grand - love, death, immortality, personal expression, loyalty, selfishness - and presented seriously. There is also a well-realized contemporary "rock" feel, very kinetic action, and the occasional dollop of humor. It is a very ambitious undertaking that, like most such undertakings, did not succeed in achieving all of its ambitions. I just hope that everyone who sees the film agrees that the filmmakers gave it their best, and that was enough.
When a book is transferred to the big screen, it is understandable that many alterations must be made. However, a brand new element is the love story between Lestat and Jesse - why was this added, and what importance does this storyline have in the film?
It's hard to find a successful film in which the protagonist doesn't have a relationship through which he resolves his own dilemma. In the film, Lestat's first important relationship is with Marius, who presents Lestat with the "facts of life" that Lestat finds so unsatisfying. This is a teacher-student relationship, and Lestat quickly reaches the familiar place where he feels the need to move on and become his own person - an adult - even though he is still, psychologically speaking, an adolescent. In the novel of QUEEN, Lestat became involved with Akasha, but this occurs near the climax of the story; their relationship doesn't fully convey Lestat's struggle with himself as to what he wants. This is where Jesse comes in. Jesse is the only major human character in the film. (Talbot is very important, but has only a few scenes.) As such, she serves as the way in for the audience - especially those who are unfamiliar with Anne Rice's novels. But characters often serve double duty in adaptations of works as complex as those of Anne Rice, and we thought that Jesse was a perfect counterweight to what Akasha meant for Lestat: everything that vampires find attractive in humans. As such, she attracts him, offering the possibility of assuaging his loneliness with her company, versus feeling good by living in the light and burning down the house with Akasha. While this can be viewed as a romantic choice, and often conveys that feeling, for us it was less about Lestat choosing one woman over the other, than choosing one lifestyle over another. I think you'll find that the movie will give you the same feeling.
Are you involved with the publicity of the film? If so, what more can we expect to see in the weeks to come, and in which countries?
The trailer and the poster are already out. You can expect our three Lestat music videos, the release of at least one single from the movie, the soundtrack, and quite possibly some deleted scenes, in the WB site. There will also be interviews with all of the principals and the usual print articles. As I learn what will be happening in different countries, I will let you know.
How shocked were you when Aaliyah died?
Catastrophes don't shock me. But I was very sad to realize that I would never see Aaliyah again, that I would have to find another way to view her amazing career, and to be so aware of the hole it left in the lives and hearts of her family. They loved each other as much as a family could, and... as cliched as it may sound... it just didn't seem fair that they wouldn't have her with them anymore. I now realize that their spirituality has allowed them to keep Aaliyah close in spirit, and that her work will always speak for her. By dying, she became even more of an inspiration.
Has the extreme reaction from die-hard Anne Rice fans surprised you or were you prepared for their rantings? Is it enough to put you off adapting another book-to-film movie with such a dedicated fan-base?
I was very surprised by the anger of the more reactionary fans of the novels to the changes that we made. The reason is that I couldn't disagree more with the notion that a film must view its source as sacrosanct. When you don't think a certain way, it doesn't occur to you that a lot of people feel diametrically the opposite. However, this revelation wouldn't put me off in the slightest if I wanted to adapt another cult book into a film. Again, I am totally convinced that any filmmaker is within his or her creative rights in changing something that has been sold with no creative strings attached. And, I like fights. I only wish, in responding to some of the more annoying comments I've received, that my responsibility to WB and the image of the movie didn't leave me feeling like I have one hand tied behind my back.
Will you consider using the internet and fan-sites to promote future projects?
We are considering the release of some of the publicity materials I mentioned earlier through some internet fan sites. There is no question that I will think long and hard as to how much fan sites can help any of my projects. I blew it in not coming to you or Vampvan earlier. I don't intend to repeat that mistake.
What are you working on next?
As a producer? I have three films coming out this season: QUEEN, TIME MACHINE, and SHOWTIME. I have over 15 projects in active development, and almost as many more that I'm trying to set up, but none are ready to go before the cameras very soon. The likleliest is a psychological thriller called IN THE LAKE, to be directed by Jon Amiel, which should shoot by the third quarter.
Jorge Saralegui, I thank you!
*!*!*!*
I'll be posting my favorite parts of this interview without an LJ-cut in the next entry
Jorge Saralegui, is interviewed (hah!) by qotd-cast.co.uk
Jorge Saralegui, the Producer of ‘Queen of the Damned’, was kind enough to grant me this interview. I was helped by Vampvan and various other members of the Forum to compile the questions. As you can see, there are quite a few revelations here! Enjoy!
If you want to read some more of his comments on 'Queen of the Damned', I've compiled a lot of his points, answering various questions on the Official Queen of the Damned Message Board,
What attracted you to ‘Queen of the Damned’?
Having read INTERVIEW WITH THE VAMPIRE when it first came out. I loved it, but it broke my heart at the same time, because it was the vampire novel that I wanted to write. When WB asked me to read QUEEN OF THE DAMNED about twenty years later, I felt the hand of fate (albeit in a corporate glove).
In the official forum you mentioned that ‘Queen of the Damned’ is a sequel to ‘Interview With The Vampire’, but will it be billed as a sequel?
I don't know of any movies that are billed as a sequel - that is, INDIANA JONES & THE TEMPLE OF DOOM, THE SEQUEL - but WB certainly views it as the sequel to INTERVIEW. That we've changed every last actor won't affect that! It's hard for me to say the same thing, because I don't know if that's how Anne Rice sees it. I see it more as part of a series titled THE VAMPIRE CHRONICLES. It's hard to say that the story of THE VAMPIRE LESTAT follows INTERVIEW in any traditional manner. In fact, it's more prequel than sequel.
How many scripts were written and why didn’t you get Anne Rice to write the script?
Neil Jordan worked on an adaptation of THE VAMPIRE LESTAT that never saw the light of day. Our version of QUEEN probably had at least eight distinct drafts by three different writers, as well as a draft by Michael Rymer, and a scene or two by another writer.
If Anne Rice offered to write the script for free and was turned down, it either preceded my involvement with the project, or was never made known to me. I seem to recall her saying on her site that she did, but this could be way off. I do know that Anne wrote a "bible" script of all the CHRONICLES, and she may have offered that to WB.
Were there any rumours that annoyed you, ie. ‘Queen of the Damned’ going straight to video (started by E! Online)?
The straight-to-video rumor was annoying. E! Online picked it up from a web site, which got it from some troublemaker who noticed that WB had taken the movie off its 2001 release slate.
(It helped that I was in Alaska at the time, and didn't hear about it until after I returned, and the rumor had been retracted by the offending party.) The rumor that the production kept being postponed due to lack of a script and general cluelessness was also annoying, since I naturally knew the entire time that we were on schedule (as much as any movie is in preproduction). I'm talking about all the people who were rooting for November 2000 to roll around without any film rolling as well, so that the rights to the novel would revert to Anne Rice. That was never going to happen.
To what extent were you involved with the casting and general production of the film?
Casting almost always involves the director, the producer, and the studio. Michael Rymer took the lead on almost every character. The studio sometimes disagreed, but ultimately went along with his instincts. I particularly championed Stuart Townsend and Marguerite Moreau, who were the cast's relative unknowns.
I'm not sure what "general production" means, so I'll give you a rough laundry list. I was actively involved in the development of the story and the script, the casting, and the hiring of our line producer, Su Armstrong. (Su put together the crew, and ran the "business" of the movie.) I supported our general musical direction, and shooting in Melbourne. I went on just about all our location scouts, and was on the set every day. Being "on set" meant many things, but boils down to doing my best to make sure that we were making the movie we had envisioned for months. Afterward, I have been actively involved in the editing of the movie, and consulted with WB on its marketing.
In the auditions, what impressed you about Stuart Townsend who plays Lestat? And also, the same question about Aaliyah, who plays Akasha? Lorenzo diBonaventura, WB's head of production, heard about Stuart in Cannes, and passed his name along to us. I saw the opening image of RESURRECTION MAN, and knew we had found our Lestat. Why? He was pale, sexy, androgynous, cocksure, and dangerous as all hell. His audition communicated the same charisma that I felt that first moment, but for me, it was redundant. (By the way, this sort of "Hollywood" moment almost never happens to me.)
Aaliyah was actively championed by Lorenzo, who had seen her work on ROMEO MUST DIE. Michael met with her, staged an audition, and felt that her sexuality could work for Akasha. It was a matter of her feeling dangerous as well. Michael saw something that made him believe she had it, and put her to work on honing the skills she would need for such a difficult role.
What is your opinion on the costumes and set design?
Angus Strathie's costumes confirm the talent he displayed in MOULIN ROUGE. The contemporary characters all look sexy and vampiric, and the period costumes (in the flashbacks) are seductively rich. There is no question that the look of some of the Ancients is controversial, but that was a conceptual direction that we undertook as a team, after much debate, and with very clear (if complicated) reasons.
I think that Grace Walker's set design is one of the absolute triumphs of the film. I can't say enough about it. It is amazingly varied, consistently inventive, epic in scale... and all, like Angus, on a tight budget.
You mentioned in the official site’s forum, you tried Stuart Townsend and Marius with long, blonde hair, but these looks just didn’t suit them. Will we ever be able to get a chance to see photos of these early looks, maybe on the DVD or the official website? It’ll be a laugh, and it might shut up some of those who have been complaining!
That's a good idea! I'll run it up the flagpole, but don't expect anything until the movie's run is over. By the way, Marius had very long gray hair.
We already know how much research Christian Manon did for his role as Mael. How did the other actors research their roles?
I hope I'm not underestimating any of them if I say that they read the novels, saw the original movie... or not. The exception might be Aaliyah, who was already well-versed in Egyptology, and immersed herself even deeper in that field, Anne Rice's novels, and vampirism.
You were on set every day of the shoot. What was the atmosphere like? Did everyone get along okay?
The atmosphere on the set was usually one of "how are we going to get through everything that's scheduled for today?" Part of that pressure came from how long it took to properly apply the actors' make-up and costumes... particularly Aaliyah. We had the most fun when we were the most prepared, as during the week we spent in Werribee. Everyone got along okay, meaning that there wasn't a single flare-up, and many moments when you could feel the pleasure the actors felt while working with each other. Were there days when people were touchy? You bet.
Did Michael Rymer direct his own vision of this film? How much input did you and/or the studio have overall?
Michael definitely directed his own version of the film. In fact, the film was never more his than during production. Michael wanted the movie to have a contemporary raggedness, contrasted by the more traditional lushness of its period moments. You'll see that it does. He got the cast he wanted. And what compromises he made in the script were dictated by my oft-stated belief that we couldn't keep everything. If he has any regrets, it's that he wasn't able to flesh out all of the characters as much as he would have liked.
Michael and I have a very good working relationship. He knows that I support his vision, and he in turn always took my reservations or suggestions seriously. It has been a very rewarding collaboration for me; it wouldn't have been if I hadn't had as much input.
The studio has input on everything; it's how things work. I know this is hard for Anne Rice fans to believe, but WB stuck its neck out making this movie. Given the risk they took, I found them to be often helpful and reasonable overall.
We know that Anne Rice was not involved with this movie. Has the studio received any feedback from her regarding this film?
Anne Rice was much happier with the later drafts of the script than she was with the first. She approved of most of our casting, and got along very well with Stuart, who visited her once we were done filming. She liked the look of the trailer. And she has yet to see the movie.
Would you like to be involved in any future films based on The Vampire Chronicles?
I would like to produce a mini-series of THE VAMPIRE LESTAT, mainly to give something more... expected... to Anne Rice fans. And there is a movie to be made of TALE OF THE BODY THIEF, although it would be just as vexing as QUEEN.
Have you seen the final cut of the film? If so, what are your thoughts?
I think we made a beautiful, sexy, dynamic and thoughtful movie that demands close attention. Something that you don't see every day. That would be difficult to top if you handed someone a copy of the novel and told him or her to fit it into two hours. And, as with almost any film, I see missed opportunities. I regret these all the more, because I am so proud of what we did achieve.
What are your favourite scenes and characters in the movie?
I like way too many scenes to list. The entire flashback - what we see of what is written in Lestat's journal - is amazing, and probably the film's strongest section. One of my favorite images is our first view of Lestat, after his first feed in 100 years. He looks like he ate the cat's canary, and is now wondering where that cat got off to. My favorite characters are Lestat and Jesse, because they undergo a change. Marius also stands out as a fully realized character. Akasha is terrific, but remains unchanged throughout; a force of nature at its most unnatural.
What are your views of the music featured in this film? How would you describe it? How did Jonathan Davis become involved?
Jonathan Davis wanted to compose a score for a film, and liked QUEEN's subject matter. Landing someone with his level of talent and recognition was perhaps our biggest coup. At first I was apprehensive, as I didn't know what Jonathan Davis would bring to the table. The songs he wrote with Richard Gibbs turned out to be a more melodic, atmospheric version of what he does with Korn, and I found them surprisingly seductive. As for the actual score, it is surprisingly traditional, in that it gives what the scenes call for, quite strongly. Like the movie, it is highly emotional.
What would you tell Anne Rice fans to expect from this film?
Anne Rice fans should expect enough changes and omissions from the novels that they will have no choice but to view this as a creative variation on the author's work. What they will find in common with the novels is a gorgeously textured, very emotional atmosphere, and characters whose psychological concerns mirror the ones they have in the novels. The themes we explore are grand - love, death, immortality, personal expression, loyalty, selfishness - and presented seriously. There is also a well-realized contemporary "rock" feel, very kinetic action, and the occasional dollop of humor. It is a very ambitious undertaking that, like most such undertakings, did not succeed in achieving all of its ambitions. I just hope that everyone who sees the film agrees that the filmmakers gave it their best, and that was enough.
When a book is transferred to the big screen, it is understandable that many alterations must be made. However, a brand new element is the love story between Lestat and Jesse - why was this added, and what importance does this storyline have in the film?
It's hard to find a successful film in which the protagonist doesn't have a relationship through which he resolves his own dilemma. In the film, Lestat's first important relationship is with Marius, who presents Lestat with the "facts of life" that Lestat finds so unsatisfying. This is a teacher-student relationship, and Lestat quickly reaches the familiar place where he feels the need to move on and become his own person - an adult - even though he is still, psychologically speaking, an adolescent. In the novel of QUEEN, Lestat became involved with Akasha, but this occurs near the climax of the story; their relationship doesn't fully convey Lestat's struggle with himself as to what he wants. This is where Jesse comes in. Jesse is the only major human character in the film. (Talbot is very important, but has only a few scenes.) As such, she serves as the way in for the audience - especially those who are unfamiliar with Anne Rice's novels. But characters often serve double duty in adaptations of works as complex as those of Anne Rice, and we thought that Jesse was a perfect counterweight to what Akasha meant for Lestat: everything that vampires find attractive in humans. As such, she attracts him, offering the possibility of assuaging his loneliness with her company, versus feeling good by living in the light and burning down the house with Akasha. While this can be viewed as a romantic choice, and often conveys that feeling, for us it was less about Lestat choosing one woman over the other, than choosing one lifestyle over another. I think you'll find that the movie will give you the same feeling.
Are you involved with the publicity of the film? If so, what more can we expect to see in the weeks to come, and in which countries?
The trailer and the poster are already out. You can expect our three Lestat music videos, the release of at least one single from the movie, the soundtrack, and quite possibly some deleted scenes, in the WB site. There will also be interviews with all of the principals and the usual print articles. As I learn what will be happening in different countries, I will let you know.
How shocked were you when Aaliyah died?
Catastrophes don't shock me. But I was very sad to realize that I would never see Aaliyah again, that I would have to find another way to view her amazing career, and to be so aware of the hole it left in the lives and hearts of her family. They loved each other as much as a family could, and... as cliched as it may sound... it just didn't seem fair that they wouldn't have her with them anymore. I now realize that their spirituality has allowed them to keep Aaliyah close in spirit, and that her work will always speak for her. By dying, she became even more of an inspiration.
Has the extreme reaction from die-hard Anne Rice fans surprised you or were you prepared for their rantings? Is it enough to put you off adapting another book-to-film movie with such a dedicated fan-base?
I was very surprised by the anger of the more reactionary fans of the novels to the changes that we made. The reason is that I couldn't disagree more with the notion that a film must view its source as sacrosanct. When you don't think a certain way, it doesn't occur to you that a lot of people feel diametrically the opposite. However, this revelation wouldn't put me off in the slightest if I wanted to adapt another cult book into a film. Again, I am totally convinced that any filmmaker is within his or her creative rights in changing something that has been sold with no creative strings attached. And, I like fights. I only wish, in responding to some of the more annoying comments I've received, that my responsibility to WB and the image of the movie didn't leave me feeling like I have one hand tied behind my back.
Will you consider using the internet and fan-sites to promote future projects?
We are considering the release of some of the publicity materials I mentioned earlier through some internet fan sites. There is no question that I will think long and hard as to how much fan sites can help any of my projects. I blew it in not coming to you or Vampvan earlier. I don't intend to repeat that mistake.
What are you working on next?
As a producer? I have three films coming out this season: QUEEN, TIME MACHINE, and SHOWTIME. I have over 15 projects in active development, and almost as many more that I'm trying to set up, but none are ready to go before the cameras very soon. The likleliest is a psychological thriller called IN THE LAKE, to be directed by Jon Amiel, which should shoot by the third quarter.
Jorge Saralegui, I thank you!
*!*!*!*
I'll be posting my favorite parts of this interview without an LJ-cut in the next entry
