“The thing is, first, it’s really important that people understand for me, it was really a diptych, it was two movies, a pair of movies that will be the adaptation of the first book.”
“That’s done, that’s finished. So, if I do a third one, which is in the writing process, I will say that, for me, it’s a different object. It’s not like a trilogy almost, it’s strange to say, but I really want to – if I go back there – to do something that feels different and has its own identity.”
“Let’s say for me, ‘Dune,’ in a way, is finished and ‘Dune: Messiah’ will be something new that I will approach with its own different cinematic philosophy.”
“I think that it would be a good idea for me to make sure that, in Messiah, there are the seeds in the project if someone wants to do something else afterwards, because they are beautiful books. They are more difficult to adapt. They become more and more esoteric. It’s a bit more tricky to adapt, but I’m not closing the door. I will not do it myself, but it could happen with someone else.”
“Let’s say that I thought that after Part Two that I will take a break, that I will go back in the woods and stay in the woods for a while to recover. But the woods weren’t really suiting me, and I would go back behind the camera faster than I think. But that’s all I can say.”
“Like Herbert did with Dune: Messiah, I think it’ll be a great idea to do something completely different. The story takes place like twelve years after where we left the characters at the end of Part Two. Their journey, their story is different this time, and that’s why I always say that while it’s the same world it’s a new film with new circumstances.”
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In cases such as sequels and franchises from any media, the score must not use more than 20% of pre-existing themes and music borrowed from previous scores in the franchise.
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