Following their Hall H panel at Comic-Con, director Sam Raimi, along with actresses Mila Kunis and Michelle Williams, held a press conference to discuss the new film Oz: The Great and Powerful, which already looks intriguing and compelling, just from its small glimpses. The story is a prequel to the classic Wizard of Oz, telling how the selfish Wizard (played by James Franco) arrived in Oz from Kansas and went on to become a more selfless ruler and man. Check out what they had to say after the jump.
Question: Sam, with the Spider-Man movies, you showed that you have a great way of being able to stay true to the source material while still keeping the Sam Raimi touch, whether it’s your camera work or the sense of humor you inject in it. How were you able to throw those elements into Oz while keeping it the Oz we know from the books or movies?
SAM RAIMI: Well, as opposed to just doing a lot of camera gymnastics for thrill and chill’s sake, we’re really trying to describe the fantastic world of Oz. When the camera is moving, those more dramatic types of movements are to show the depth of a canyon in Oz, or the height of a waterfall, or what it’s like to soar with Glinda in her bubbles, above the beautiful environments that were created by our production designer, Robert Stromberg. So, the camera’s movement is used to describe the beauty and the fantastic qualities of this impossible place. And there is a sense of humor, but I think it comes from the whimsical nature of [L. Frank] Baum’s great worlds and characters. We have a main character, played by James Franco, who is a little selfish, as the story begins. As he runs up against those he admires – at some point, it’s primarily Glinda – his shortcomings are often a source of the humor. That’s a trite answer.
After doing Drag Me to Hell, which was a great movie that wasn’t received as well as you would have hoped, did you take any lessons away from that, in doing this larger tableau type of storytelling?
RAIMI: Well, I learn a lot from every movie that I make. I learn what not to do. I make a thousand mistakes, and I’m painfully aware of them. It’s not like I have to recognize, “What was my mistake here?” I’m always aware of where the wrong is. So, moving forward, I try to take that in, and I’ve learned a lot of lessons. I went forward with this picture, with those thousands of lessons from that picture. But, that was just a completely different thing than this film. This is a very straight-forward family picture. I would say it’s a great, classically Disney type of movie. It really is all about these characters and their interactions with each other, the friendships they make, how some of them are sinners, how they hurt others and how those sins can grow. It’s about finally recognizing that the things you do in this world have consequences, and how to be the best person you can be. That’s really the story of this film. It’s about recognizing the mistakes we’ve made and moving past them, and growing into something better than you were when you started out. The most exciting type of story for me is the one with a little bit of character growth, and I think James Franco’s character has a little bit of growth, in this story.
RAIMI: Wow! It was great to work with them because they’re great actresses. As beautiful as they are, that would simply just become meaningless, if they weren’t great actresses, and that’s what we needed for the story. They both have very complex roles and complex interactions with the other characters in the piece, and they just did a beautiful job performing. It’s very funny and realistic, and they’re a pleasure to watch. And, yes, they’re not hard on the eyes.
MILA KUNIS: Sam is fantastic. I don’t know where to begin. I would do craft service for Sam, if he asked me to. He is probably one of the funniest, sweetest, most gentle human beings that I have ever had the pleasure of working with. Aside from being incredibly talented, he is so sincere about the projects that he chooses and the people that he casts. He’s so supportive of everybody around him – of his crew, most importantly, and of his cast – that he’s incredibly inspiring to work with. You go to work and you want to make him happy. I think that having that, every day, on a 17-hour long day, is the greatest gift you can give anybody.
MICHELLE WILLIAMS: You called the cinematic genius part right. I have never made a movie like this before. I’ve never made such a big movie before. I didn’t know what it was going to be like. I didn’t know if the things that interest me and the things that concern me, Sam would have time for or patience for. And not only did he have time and patience for them, at the beginning when we were rehearsing, but he had time and patience for them on the 17th hour of the sixth day. I found him to be a collaborator and a friend and a confidant, and a partner in everything. I felt like it was a very holistic experience for me. It was a real melding of my work life and my personal life, my film family and my real family.
Mila, you’re playing a character who has been represented in film, as well as in animation, so many different times. Did you pay homage to any of those version, or are you putting your own spin on it?
KUNIS: I don’t know. I wish I could answer that question. No, I wasn’t paying homage because you can’t. I don’t want to give away exactly what my character is. You could never replicate, nor would you ever want to. She’s so iconic and so fantastic, in her own right. When I tell you that I was scared going into it, it’s an understatement. Truly, I was frightened. The only thing that I could do was try to be as honest to the character as I possibly could. Sam gave me the gift of a backstory, as to why she is the way that she is. So, I went in, playing her as real as possible. I believed it, so I’m hoping everybody else will believe it.
Stepping into the world of Oz, obviously you’re in the shadow of one of the most beloved movies, ever. Is there extra pressure, in having to live up to the original The Wizard of Oz?
RAIMI: Well, we all love The Wizard of Oz movie, and we were very careful not to tread on it. We were careful to respect it. But, ours is really a different story. It’s a story that leads up to The Wizard of Oz. It’s a story of how the wizard came from Kansas to the Land of Oz, and how a slightly selfish man became a slightly more selfless man, and it’s the story of how he became the wizard. It’s a fantastic story that answers that question, in case any of you had that question. But, it’s not re-making The Wizard of Oz, so it wasn’t a problem that we had to deal with. We just nodded lovingly toward it, and went ahead with telling our own story. Our producer, Joe Roth, was a great aide in that because he has a lot of experience in creating fantastic worlds. He did the great Tim Burton picture, Alice in Wonderland. He and our production designer, Robert Stromberg, really created an original vision of what Baum’s work could be on the big screen. I wish we could have used the Emerald City from the original The Wizard of Oz, but we didn’t legally have the right to do that, or use the ruby red slippers, or a lot of other iconic elements from the 1939 film. But, that turned out to be okay in the end because we really were trying to tell our own story. It’s an original story, nodding lovingly toward The Wizard of Oz.
RAIMI: Yes, my little brother Ted plays a tiny part, otherwise my mother would have my head. And, Bruce Campbell is in the movie. He plays a bit part because he was busy shooting his TV show (Burn Notice). He took a day off and came down and just did a tiny little, few-line role for us. It’s a tiny little cameo. He’s really fun to watch in the picture. He did a great job. I can’t tell you who he is, though. You’ve got to see the picture.
As every film is definitely a new challenge and an evolution for you, what sort of technological challenges did you have to overcome with this film?
RAIMI: Well, this was the first picture that I ever had the opportunity to shoot in 3D, so I had to learn a lot about the process of 3D, how you light it and shoot it, what works and what doesn’t, and what the convergence is of the different lenses. I had to, technologically, learn quite a bit. And then, there’s a whole language of cutting that’s different in 3D. Your eye takes a little while to get used to one particular convergence, and you can’t quite cut as freely as you’re used to, nor do you want to, I found. I’m still learning about it. You don’t want to be focusing on somebody in the great distance, and then, in the next cut, come to the foreground again. It takes a moment for the audience to feel comfortable with where that convergence is, so it changes the cutting nad the way the shots are constructed. So, I had to learn a lot in bringing the Land of Oz to life.
Mila and Michelle, what did you love most about the original 1939 film, and what did you get excited about when you were exposed to the real L. Frank Baum mythology?
KUNIS: One of the first films I ever saw in the States, in 1991, was The Wizard of Oz. It was probably the first movie, as a kid, that I truly gravitated towards and loved so much so that my parents, in the process of me learning English, decided to get me the Return to Oz book, as my very first book to read in English that wasn’t a picture book. So, I do have a weird connection to the original Wizard of Oz, including the original books. That was the first book that I read.
WILLIAMS: My association with the movie is probably like everyone’s association with the movie. You see it over and over again, when you’re a kid. So, to think that, for this moment in time, you get to walk in the footsteps of this very beloved character, it feels like a real honor. And then, to get to know the world and the language and the characters more deeply, after you read the books, you see that there’s a lot in the books that’s used in this movie, but there’s also a screenwriter’s imagination at work. But, I did read them very carefully and with a highlighter, underlining things about Glinda and turns of phrases that she might use, or how she would wear her hair. I found them very useful.
Sam, how did you get your head around doing a film like this, since it’s so different from anything you’ve ever done before?
RAIMI: You’re right, it is absolutely different than anything I’ve ever done before. I’ve never made a family picture. I guess you could call the Spider-Man films family pictures, but those are basically action love stories. This was just a completely different, otherworldly experience for me. I had never tried it before, and I didn’t know if I could do it. But, I so loved the screenplay and was so moved by so many different points. I had the goal of telling an uplifting story, and what’s uplifting about it is that the character learns to be a better person. Those things seemed right to me, and it felt like a great challenge. I was excited by it, and wanted to see the movie. More than anything, I think that’s what gives you the strength to think you can direct a movie. If you want to see it and you understand the characters, I think that’s what it is for me. That’s how it was for me, reading this. And I didn’t understand all of the characters completely. It’s a learning process with the actors, on set. But, when you read the script and you think you have an understanding of the characters and how to direct the actors, that’s all it is, really. If you know the characters, you can direct it. That’s what gives you strength, and that’s what told me that I’d like to direct this picture.
How do you think James Franco has evolved, as an actor, since the last time you worked with him? Do you think that what he brought to the table for this character may have been affected by the fact that he is a filmmaker now?
RAIMI: Yes. He’s a great collaborator. James was very much less collaborative, when I first started with him. He was a real serious actor. I think he still had his James Dean hat on, and he was doing it his way. So, I worked with him with certain limitations because we couldn’t communicate about everything as deeply as we eventually did on this picture. I don’t know if that’s a result of James’s growth as an individual, or that a director just has a much deeper relationship with their leading man and leading ladies than they do with the best friend character, who he played. But, either way, what I detected was a great growing sense of openness, collaboration and patience. That’s what a filmmaker has to have buckets of. Now that James is a filmmaker, I think he understands all the things that go into a shot, and he’s developed that patience.
What can you say about your flying monkeys?
RAIMI: In the teaser that they showed [in Hall H], the Wicked Witch has an army of flying baboons, and we saw a glimpse of them. Our first animation was completed on them, but we’re actually still developing them. The teaser demanded that they come out right now, so this is the first glimpse of them, but we tried to keep them a little darker than I would’ve otherwise. She commands them to rule, for all of Oz. There’s also a flying monkey, in the story, that’s different from the baboons. It’s a nice flying monkey, so don’t worry.
WILLIAMS: She’s seen one other movie that I’ve made. She saw a very small movie that I made, called Meek’s Cutoff, and I think she was one of the only people that saw it. She sat through it. But, this is certainly the one she’s the most excited about, that I’ve ever been involved in. She spent six or seven months on this set. She came to visit, every day, and it was a real playground for her. She sat behind the monitor.
KUNIS: She is the sweetest girl on the planet. You have no idea. [Michelle] did a wonderful job, raising her.
RAIMI: Yes, she did.
KUNIS: She’s really, really good.
WILLIAMS: Thanks guys!
Why do you think production companies tend to make more remakes, prequels and sequels, and what do you think that does to movies, as an art form?
RAIMI: Well, I only know what I read in the trade papers, and they say that they’re less gambles than original work, and the audience seems to enjoy going to them. When they like a character, they want to return to it. There’s a natural desire to see a character they like, come back again in additional stories.
Michelle, what was the biggest day-to-day adjustment, in working on project of this size?
WILLIAMS: There were more choices on the lunch table. I honestly mean that. I was really surprised because this isn’t my territory. I haven’t made a movie this big before, and I was worried about whether I would fit or feel comfortable. In rehearsals, I said to Sam, “This is the most unique experience I’ve ever had because I’m having so much fun!” He made this environment where he made you feel like all your ideas were welcome, and he really listened to them and really took them on. It was such a collaborative experience, and I just had a blast. It felt as close-knit as the very small movies that I’ve made.
KUNIS: You know, I was a little surprised at the lack of green screen that was used in this film. As far as the aspect ratio of things, it was ultimately blue screen when you’d look very far into the distance. But, in regard to the difference between an independent film and a film like this, it’s the sets. The sets were so elaborate and so detailed, and they were incredibly tangible. The big, gigantic, oversized flowers that you’ll see, were there. As much green screen as there was, you didn’t really need to use that much imagination because it really was built up, in front of you. So, what I thought was going to be difficult, it actually required very little of it. They built magical sets. The Emerald City was a set. Glinda’s castle was a set. Whimsy Woods was a set. The river was a set. There were so many things. There’s a waterfall sequence that was real. It’s insane what they were able to put into a stage. I think that that’s probably where most of the money went.
Michelle, will there ever be a Dawson’s Creek reunion, in some form?
WILLIAMS: I would very happily do a reunion show, but I don’t know what it would be. My character died in the end, so there are certain limitations for me. I would either have to come back as a ghost, or be shot through a lot of gauzy, hazy light, as my 19-year-old self. But, I’ve always said that I would really love to. I think, independently, we’ve all been saying that. At some point, I hope that it does happen. I hope that it’s a way to honor the past and what a big deal it was for the four or five of us, and what a big deal it was for people who loved and watched it.