The Hall H footage for Paramount’s “Teenage Mutant Ninja Turtles” and “Project Almanac” revealed two very different approaches. The former is a live-action 3D reboot that takes advantage of the latest technology (VFX details below). Megan Fox plays comely reporter April O”Neil who’s tracking a pack of vigilantes with Will Arnett (who takes a good look at her butt leaning out a window during one truck-diving-down-a-mountain chase).
The project came into being when producer Andrew Form called original 1983 comic creator Kevin Eastman (who has a great boyish quality) and begged him to come to a meeting. “This has been going on 30 years, crazy!,” he told the hall. “I didn’t think we would sell one issue of the comic. Thank you!”
They agreed to collaborate and brought in director Jonathan Liebesman. Born in 1986, Fox grew up a fan of the TMNT, she said, and wondered how April, “who was slightly different in each manifestation, would turn out in this version. I was not sure who she was going to be.”
On the other hand, the studio was confident enough to promote low-budget time-travel POV flick “Project Almanac,” starring a quartet of young unknowns, to the Comic-Con hordes via a screening Thursday night. Director Dean Israelite, the younger cousin of Liebesman, who last came to Comic-Con as his assistant on “Battle Los Angeles,” delivered stronger footage with “Project Almanac,” which played well.
Meanwhile, at the Paramount roundtables, “Teenage Mutant Ninja Turtles” and “Project Almanac,” revealed a distinct contrast in tech approaches. While the “TMNT” reboot touts the latest facial capture advancement from Industrial Light & Magic called Muse, the time-traveling teen adventure is proudly low-fi in its attitude toward hardware.
In fact, “TMNT” director Jonathan Liebesman even acknowledged the brilliance of Weta Digital’s performance capture work on “Dawn of the Planet of the Apes” as a preface to explaining the importance of ILM’s animated contribution. “You cannot get a great performance without a great actor and animators are there to almost re-target that performance onto the characters that you create, and so when they say that Andy Serkis deserves the Oscar, he does deserve the Oscar. He does an amazing performance and makes you believe Caesar is real. Those were some of the shoulders we were standing on.
“And so we cast the actors that embodied each turtle, and their performance was translated. Where the technology went even further than on ‘Planet of the Apes,’ we were able to select different takes and then blend them in one performance. So that was something that ILM did a lot of R&D on, enabling us to not to have to stick to one take, and that gives you a lot of flexibility in post-production.”
ILM benefited from using two HD cameras, according to the director, and, for the first time in its history, captured eye movement, teeth, and even the tongue. “The technology they were using was a lot more challenging and took a long time to research, so by the time we got to the set, it was sort of user friendly, To me, it’s incredible. For ‘Planet of the Apes,’ you have apes, you have a reference in real life for the animators as artists. In a way, what’s difficult for our film is there are no ninja turtles.”
Thus, it was a challenge to create such beloved, iconic characters in a more believably photo-real way. “And emote the way we do.”
And the appeal of revisiting the Turtles for Liebesman was reaching back to the dark tone of the original comics and blending it with the lightness of the popular animated series, In effect, making it grittier with a greater sense of danger while staying true to the spirit of the archetypal personalities. “And I think those characters could work in any story, so for us the characters themselves and their interaction was almost more important than the plot itself.”
Meanwhile, “Project Almanac,” which is about second chances and the consequences of that when changing events in time, starts out as a comedy but then grows darker. However, for director Dean Israelite, it wasn’t particularly important to immerse himself in the time travel genre because that was merely a device to explore a teenage rite of passage story, Even so, the catalyst of discovering found footage from the past makes for a fresh time travel twist.
“I think what we really tried to do was take this high-concept and do it in a low-fi way so it becomes edgy and gritty. Time travel is violent at first and full of mistakes and obstacles and these guys almost kill themselves in just trying to get it working. And when they do get it working, it only goes back for a day. And they need to find more parts and raise more money to get it back two days, maybe a week, three weeks. So I think by making everything subjective from [star Jonny Weston’s point of view] puts a new spin on it,”