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By David Poland poland@moviecitynews.com

DOOMSDAY: Neil Marshall Interview

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‘Doomsday’ has Apocalypse Wow
(An expanded version of my story from the NY Daily News, March 11.
by Justine Elias
(Doomsday opens March 14. Universal’s official movie site is here.)
Forget all quaint notions of plaid kilts, malt whiskey, and Highland terriers: In the futuristic action movie Doomsday, Scotland, circa 2035, is a walled-off quarantine zone. A virus has wiped out 99.9 percent of the population. When a new outbreak ravages London, the government forms team of commandos to seize survivors north of the border and find cure. But the remaining Scots are hostile. Breaking out is impossible. Breaking in would be insane. Who’ll be tough enough to lead the mission?
For DOOMSDAY director/writer Neil Marshall, 37, the heroine is Maj. Eden Sinclair, played by Rhona Mitra. (Picture a female Snake Plissken, the badass hero of ESCAPE FROM NEW YORK) Sinclair’s got guns, a posh accent, and a mechanical camera-eye. “Eden’s a child of the apocalypse,” says Marshall. “Her mother sacrifices herself to save her, and she remembers that moment. Rhona was great at showing those feelings.” And like Kurt Russell’s Snake, Eden’s got a mean streak. Says Marshall, “Rhona’s got a very cruel smile.”


Suspense with swagger is nothing new for Marshall, who’s scored big with horror and sci fans.
DOG SOLDIERS, a worldwide hit on DVD, pitted a sextet of British soldiers against a clan of werewolves. THE DESCENT (2006), a cult favorite about a cave-exploring trip gone terrifyingly wrong, grossed $57 million worldwide.
New York Daily News critic Jack Mathews wrote, “This is one of the scariest movies featuring female heroines since the ALIEN series, and what makes it uniquely scary is where these women are — in tunnels two miles under ground — when they realize they are not alone.”
But “Doomsday,” which opens Friday, seems poised to break Marshall out of the horror niche and into the top tier of action-movie directors.
The movie is a throwback to such action films as “Escape From New York,” “The Road Warrior,” “The Warriors” and “Zulu.”
“Those movies are huge inspirations to me,” he says. “In that era, the landscape shifted. The villains were everywhere. Seeing those movies changed my life,” he says. They are hugely inspirational to me. In Doomsday, there’s also a sense that there are villains everywhere. No one can be trusted.”
Not for nothing, it seems, does the future British prime minister, named “Hatcher,” speak in the soothing tones of former head of state Tony Blair- while the shifty military advisor looks and sounds exactly like current PM Gordon Brown.
“Is Britain looking for any excuse to shut its borders to outsiders? Well, yeah. It does look that way,” says Marshall. “All those elements, I think, are there in the movie for the seeing.”
Doomsday stresses old-style movie action – filmed on location, achieved with actors and stunt performers, over computer-generated special effects. “The image that started me writing is sort of Terry Gilliam-esque,” says Marshall. “The idea of band of futuristic soldiers in body armor squaring off against a medieval knight, the horse rearing up – and thinking, what kind of story could that fit in, that wasn’t a time travel story?”
Relax, action fans: Doomsday goes straight from that fantasy flick moment to a cage match between the heroine (clad in a tank top, naturally) and a sword-wielding knight.
Marshall, who recently moved from his hometown of Newcastle, England and got married (to horror writer Axelle Carolyn), says he’s “always been a movie fan. “I remember my mother taking me and my sister to see Time Bandits on a double feature with some kids movie,” he says. “One the preview trailers was The Incredible Melting Man. A guy with a melting face! I was stunned and horrified. Yet at the same time, really interested.” He started making his own movies at age 11, using his mother’s movie camera, and later attending a city university’s film program. School advisors didn’t think much of his final project, a zombie movie, but his technical skills landed him a job as a film editor.
Doomsday’s budget was a mere $26 million – three times more than Marshall spent on his first two films. He put the cash toward “action, weapons, costumes, armor, horses – the warriors of the future meet medieval knights, crazy vehicles, and hundreds and hundreds of extras going wild, and more action.”
The movie’s climax is a ten-minute, multi-vehicle car chase, a smash, crash and-burn battle along a winding highway, inspired by The Road Warrior’s classic desert highway showdown. In Marshall’s version, “inspired by the Mad Max movies, but I hope not a duplicate,” the Scottish marauders and the heroine’s gang fight inside and atop speeding cars. The music? Frankie Goes to Hollywood’s “War,” which Marshall secured the rights to before he started filming. “As essential, to me, as going 80 miles an hour and having stunt people jump from car to car,” he says. “Great song.”
Despite the dangerous choreographed stunts, only one went wrong: cast and crew: a motorcycle rider was dragged when he meant to roll safely aside. He was not injured.
The scene that bedeviled Doomsday starred neither knights nor warriors, but a rascally rabbit plus computer effects. In the shot, a rabbit hops too close to the north side of the Scotland-England divider and goes directly to bunny heaven.
“I knew exactly what I wanted,” says Marshall – describing the many frustrating attempts to create a simple gag showing the wall’s automated defense system. “It was a delicate balance of whether it would be offensive – Oh, no! A bunny suffered! Or just laugh out loud stupid. When we finally composited the shot together was, we saw a moment in the footage when the rabbit kind of flinched, as if it knew what was coming. And I said, you can’t show the rabbit flinch, because then it’s not funny. You’re showing the rabbit scared. People won’t like that. If it’s just sitting there and then explodes, that’s funny.”
To Marshall, that moment “sums up the entire tone” of Doomsday. “If you find it funny, you’re on safe ground for the rest of the movie.”
Marshall’s reputation as a fan favorite has taken him, this spring, to horror conventions and high-pressure Hollywood meetings: he’s a candidate to direct a remake of Conan the Barbarian. “Yes, I did attend a meeting to discuss it. I wore a loincloth. Look, I can’t say anything else. There are a lot of talented people up for this job. But they don’t even have a script yet.” If Doomsday is a hit, he’ll be able to make his dream project, a WWII-set action movie that harkens back to WHERE EAGLES DARE, the Clint Eastwood-Richard Burton. The twist: it’ll be set in Scotland. “The unknown battleground,” he jokes. He waits, for now, until Doomsday strikes.

One Response to “DOOMSDAY: Neil Marshall Interview”

  1. matt sanchez says:

    this movie is the best movies ive ever seen .
    i can get enough of it.

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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