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This ain't your grandma's Wicked Witch of the West!
Making an Independent film is never easy and doubly hard if you are entering the fantasy genre, however young film makers Sean Gates and Clayton Spinney are doing just that with their adaption of the classic Frank Baum novel 'The Wizard of Oz'. Sean is the writer/producer and Clayton is the director/producer. I sat down with both to get the lowdown on the project.
- Is there anything you'd like to mention regarding the ideas for getting it distributed or about how you have been able to adapt the book rights wise ?
SG: As far as we can tell, the story is in the public domain - as evidenced by the copious number of adaptations, from the SciFi Channel's "Tin Man" to the current John Boorman animated project. We can find no hint that there's anything stopping us from doing this, rights-wise. We're looking at entering the finished film at Sundance, and seeing what kind of attention we can get.
- What made you want to make a Wizard of Oz movie given the classic version is so popular ?
SG: The reason, for me anyway, is that I grew up with the book, my Mom used to read me an abridged copy that had been hers when she was a kid. One day when I was in first or second grade, she was too busy fixing supper to read it to me so I read it to myself. First book I did that with. I still have that book, by the way. It's held together by tape and prayer.
CS: I'm with him on that. I've got several various copies of the book, from the original to abridged copies, and most of them still exist today thanks to the Scotch tape. I just fell in love with the book as a kid, and I think it's deserving of a more faithful adaptation. It's been a dream of mine to make that happen since childhood.
- What are the main challenges facing a small production on a project of this type ?
SG: Money. There are lots of things you can find to buy if you look hard enough, lots of materials are available, and there's a lot of talented people who can help you make a movie or help you get projects done, but what if you can't pay them? We're lucky to have found a young actress who is really committed to a career in acting, so this project is as important for her as it is for us. Now if we can find a few more people like her, we'll be set. Well, except for the costumes, the sets... yeah, we still need a pile of money.
CS: The money, for sure. I feel we can pull the film off with the resources available to us, but it would be so much less stressful with a larger budget. Of course, there's also the legacy of the 1939 film to contend with. There have been adaptations of the book before the MGM movie, and adaptations after it, and they've all faded into obscurity. The musical is such an important film, an American classic, and while the film we're making is an entirely different animal, it's still going to draw those comparisons.
- How did you find balancing the challenges of keeping the adaption faithful while also making sure it works as a movie ?
SG: It really wasn't that hard, though to be fair I wrote the script without worrying about budget or whatever else. The only big structural issue was that the last act of the book takes place after the Wizard has been outed as a charlatan and the Wicked Witch of the West has been dealt with. There's no remaining threat at that point and as such the book loses steam. The only thing left is to get Dorothy home. I had to cut some exciting things (including a giant spider fight) to make the story flow the way it ought to.
We're talking about maybe doing all that stuff anyway, for special content on the DVD. But I shouldn't talk about that too much in case for some reason we can't make it happen.
CS: There was some minor stuff, such as pushing ahead some of the witch's scenes to make her more of a constant threat, and then the bigger stuff, like Sean said, such as the elimination of a large portion of the last third of the book. I'm sad about losing the China country and the Quadlings, but really, given the fact that Dorothy still has the ability to command the winged monkeys, it doesn't make a lot of sense that they'd tackle that journey on foot.
- Of the main characters which was the most difficult to bring to life ?
SG: I think Clayton will have more to say on this one than I do, but offhand I'd say the Cowardly Lion.
CS: The Cowardly Lion, for sure. We essentially have three options with him; animatronics, CGI, or filming a real lion. Each of these is a pretty frightening prospect, whether from a fiscal perspective or an, "I enjoy having my arms," perspective.
- Which of the character designs is your personal favourite ?
SG: Well, I'm biased, but I'm awfully proud of that Scarecrow puppet I built. Clayton's Tin Woodman is pretty amazing, though. I think we've done a good job of capturing the look of Denslow's illustrations, which was important to us.
CS: I'd also have to say the Scarecrow. It's a wonderful little puppet, he's absolutely adorable, and his appearance is extremely faithful to the Denslow illustrations. I couldn't be happier with him.
- In a nutshell tell our readers what they can expect from your OZ ?
SG: Well, as Clayton said the other night, we'd like to capture the feel of an 80's fantasy movie, like "The Labyrinth" or "Return to Oz." Not that we have Brian Henson in our corner or anything, but we like those movies and they have the kind of vibe we'd like to emulate, with our own stamp of course.
CS: We're trying to balance an ethereal, otherworldly quality with a sense of realism, and it makes for an interesting mixture. What we're hoping is to bring Baum's Oz to life with as much accuracy as possible.
I think this is a fantastically ambitous project with two really creative and dedicated artists behind it, a different version of a classic book that is closer to the original source novel in spirit and tone than the old movie. Fantasy is a popular genre and we may just be seeing the start of two new names stamping their mark on it.
For more on the project please check the awesome official website below, it includes features, news and concept stills from the film like the one at the head of the article.
OFFICIAL SITE