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Quint chats with Lorenzo di Bonaventura about TRANSFORMERS, STARDUST, GI JOE and THE STARS MY DESTINATION!!!
Ahoy, squirts! Quint here with a chat I had with Lorenzo di Bonaventura, producer of this summer’s TRANSFORMERS, 1408 and STARDUST. This is an interview five years ago I would have put money on never appearing on this website. When di Bonaventura was an exec at Warner Bros he was kind of Harry’s arch-enemy. Harry demanded his resignation on almost a weekly basis, it seemed.
But he dropped out of the suit world and dropped into the producer world and the water is long under the bridge. di Bonaventura has been attaching himself to some good and interesting projects.
We talk mostly about TRANSFORMERS and STARDUST, but we also get into his plans for a couple upcoming projects: GI Joe and THE STARS MY DESTINATION.
Enjoy the chat!
Quint: Hey, how’s it going man?
di Bonaventura: Great, good to talk to you.
Quint: I just found out we were doing this like late last night, so hopefully this turns out somewhat coherent. [Laughs]
di Bonaventura: I’m sure it will. You probably know some of this stuff better than I do.
Quint: Well I guess the best place to start is… Let’s talk a little TRANSFORMERS and I’m sure we will talk a little bit about STARDUST as well before we’re cut off… Was TRANSFORMERS brought to you or did you seek it out?
di Bonaventura: No, it was something… I was involved with G.I. JOE with Hasbro and I discovered that they owned TRANSFORMERS as well and I was intrigued, because it wasn’t something I had grown up with, but my younger siblings had and a lot of people I knew were very passionate fans of it . So I asked to read about the mythology and I got to learn about the mythology and what surprised me, as somebody who hadn’t grown up with it, was the depth of the ideas and the thinking and the stories behind what they are… who they are… or why they are what they are. That’s what made me say, “You know what, I’d really like to tackle this as a movie…”
Quint: That’s cool. Is that the typical process you go through when you’re interested in an established property?
di Bonaventura: For me it’s like: “what can I emotionally connect to and what do I find intellectually fascinating?” And if I can find both of those things... but sometimes one is enough, but I try to find both things and then you sort of analyze it from a business point of view, particularly with a phenomenally successful and deep fan base the Transformers have, then you say to yourself, “OK, there’s a big fan base...”
The upside to that is… a lot a people are passionate about it – the complication of that is that they have strongly held points of views about it and therefore you have to include them and pick their brains and then evolve it a bit forward, so that it’s fresh to them and you need to get people who are not TRANSFORMERS fans.
Quint: I think that a lot of people don’t really know what a producer does and actually I think a lot of people who are in the industry don’t exactly know what it is, because the job seems to change from project to project depending on how hands on you need to be. What were your duties? What did you do on the movie? Did you bring in Michael Bay and do all that stuff?
di Bonaventura: No, I think the truth is… Dreamworks really should be given credit for coming up with the idea of Bay. They had just done THE ISLAND and they felt… Steven [Spielberg] felt personally, that Michael would be perfectly suited with the idea and for the real big challenges, so I take no credit for that idea,.
You know, it’s funny, there’s no good answer to the question you asked, but I’ll say this – I think the best producers are ones that often are responsible for generating the initial creative drive for a project. Often they are the ones that were first sparked by some crazy book or some belief within them that they want to make a movie about something and then a producer, a good producer, has to be very nimble and provide the services that nobody else on the project does.
So you know, you find yourself working on the script, you find yourself working on marketing, you find yourself working with promotions. In the case of Michael I don’t think there is any producer who could really add a lot to how he’d like to shoot something. He’s a master at that, so with each director and with each thing I think as a producer you have to adapt to the strengths and where you find weaknesses or where you can be the biggest pillar of support.
I’ve only been one for five years, so I don’t want to claim to have all the answers as a producer. Relatively speaking I’m young in the producing reigns.
Quint: Yeah... Your point of view is fascinating though, because you worked as a studio exec . Part of a producer’s job is to protect the project and the vision of the filmmaker from the suits and you were a suit first.
di Bonaventura: I know! It’s funny, it has been my experiences having been an executive I found myself sometimes protecting the movie from my bosses, sometimes protecting it from the filmmakers themselves, and I think the movies I’m most proud of, as an executive, are the ones that were the boldest decisions and the ones that I, as an executive, had to fight the most, alongside the filmmaker to hold the vision. Whether it’s THE MATRIX or PERFECT STORM… make a 132 million dollar movie and have everybody die at the end…
Quint: Yeah.
di Bonaventura: Or THREE KINGS. As a producer… because I understand the stresses and the experience of what it is to like to be an executive, I feel like what I can often bring to the table is understanding where the fears are as an executive and how to address those in a way that brings the best out in the filmmakers and brings the best out in the executives.
And also working at Warner I got to work on so many movies that I got to see a pattern if you would, you know? As soon as you can begin to see a pattern, of course, it shifts on you, but you also can have some perspective and my perspective is that it’s constantly changing how to protect the piece of material and what you have to do as a producer. Certainly you have to remind everybody all the time of why we are doing what we are doing and where we are going to go. Hopefully you succeed by doing it that way.
Quint: On TRANSFORMERS, what did you find was your biggest task? What was the one that you really had to concentrate the most on as a producer?
di Bonaventura: Let me think about that… well, like I said [laughing] we’re sort of all jack-of-all-trades, so I’m not sure there is a dominant area where I can just go. I worked on the script. I worked on the marketing. I worked on the promotions….
Quint: Let me rephrase it then, how about when the movie was in production and shooting, what was your day to day like?
di Bonaventura: I think when you’re day to day with a guy like Michael, the truth is in the shooting. Michael has a solid hand so that’s really not where it is. I think it was probably a benefit. It’s not often you have a filmmaker like that, who can handle so much of what’s going on on set, so from my side, I was able to work on things like, “Alright, how do we put together a soundtrack? Where do we go? How do we get some cool bands?” things you don’t get to do until much later in the project and when you turn later in the process, it usually suffers. You know what I mean?
Quint: Yeah.
di Bonaventura: I got to do things like that, where I went “alright, let’s go create, in the middle of (shooting), the soundtrack… or how do we create a soundtrack that can be successful as a soundtrack and to support the movie as it’s going along?” and we worked with the marketing guys, sort of began to find (the marketing). You know, you’ve seen a lot of campaigns, but usually it’s a process of distillation and you see right away …. Sometimes you’re lucky and you stumble on to it, but I was able to move certain processes forward that normally don’t get moved forward so quickly. In particular, we got Linkin Park and… have you seen the movie yet, Quint?
Quint: No, no I haven’t.
di Bonaventura: When you see the movie, the Linkin Park song is, I think, one of the best fusions of song and scene that I have seen and it was perfect for the movie.
Quint: Which scene does it go over… if it’s not a spoiler?
di Bonaventura: Should I spoil that?
Quint: I don’t know. Can you?
di Bonaventura: Well… it cuts over the last scene of the movie…
Quint: Oh, okay, cool.
di Bonaventura: I think it’s really uplifting as a song and when we first saw it against the picture, we all looked at each other and there was literally no controversy. Everybody was immediately… you know, usually you try different songs and you have different thoughts, but this is one where we put the song on and looked at it and went “this is it” and we kept moving. It was really incredible.
Quint: Sweet. Let’s talk a little bit about STARDUST. I met you for the first time on that set in London and I have to admit, I was nervous going up there, just because we had never had any interaction and I knew Harry shot some nasty barbs at you when you were at Warners.
di Bonaventura: Well, the funny thing is that Harry said to me once, “You know we have a lot of mutual friends and they tell me we would like each other,” and I said, “Well yeah, why shouldn’t we?” You know what? I love passionate people. I’m a passionate person… sometimes I piss people off and it’s not because I want to be disrespectful to anybody or uncaring, it’s just because I get into it, you know?
Quint: Yeah.
di Bonaventura: Neil, Neil Gaiman, is somebody I’ve been into for years and (tried to get) BEOWULF to the screen for many years and it was frustrating, you know? Harry, along the way, threw some barbs at me that were probably right and some that were probably wrong, but you know…Neil… talking about STARDUST… Neil is… I’ve tried BOOKS OF MAGIC… I’ve tried SANDMAN… I’ve tried DEATH: THE HIGH COST OF LIVING and I wish I could’ve just put Neil on as a director and writer, but unfortunately I never got it over that starting line. It was really a great treat for me to actually get to work on a movie with Neil that was shooting, as opposed to developing.
Quint: Obviously you’ve seen the movie by now, it’s screened a couple of times now. What do you think about the final project? Was it everything that you were hoping it would be?
di Bonaventura: You know what? I love it. And, most importantly, Neil loves it. I would have been heartbroken if Neil had been disappointed, you know?
So, for me, we accomplished the most important thing, which was Neil felt that his vision had been realized and after that we’ll turn to ourselves and be a little more selfish for a second. What I love about Neil’s work is that sense of whimsy that is both his sharp tongue, yet very sweet at the same time. Usually I find one or the other, not both coexisting so nicely and I think maybe in a way the proudest thing I can say about the movie is that we were able to retain that unbelievable sweetness and that unbelievable sharp-tongued way and let them coexist in a movie and not have it be pushed out because it doesn’t make sense that both tones are in the same movie and all those things that you’re sort of told along the way in the developing process.
I think Matthew [Vaughn] and Jane [Goldman] did a phenomenal job in encapsulating that into the script and then Matthew, as the director, was able to execute it, but that’s a hard thing, in today’s Hollywood – to retain such individuality. I’m really proud of the movie. It has such great individuality and such a unique attitude.
Quint: I guess we should probably bring up a couple of movies that you’re working on that the fans, especially at AICN, would really dig on and those are G.I. JOE and THE STARS MY DESTINATION. Do you know what’s going on with those two?
di Bonaventura: I know it intimately. [Laughs] I have a feeling the fans are hoping that I don’t screw this one up. Let’s start with STARS, it’s the quickest thing in a way… it’s in development; the writer’s working on it right now. Its greatest challenge, I’ll say, is its ending; as phenomenal as it is in the book, it is completely un-cinematic and so that’s the thing that we’re going to struggle with for a long time, figuring out how to execute the emotional construct of that ending. The ideas behind it… the expansiveness… there’s bold thinking that is impossible to figure out, I’ll say, on a construction level how to do it, how you do it emotionally, so we’re underway and… fingers crossed. I knew, when I got involved with that book, that the third act was always going to be, from a movie point of view, the most complicated and difficult thing, because the book doesn’t help you get there.
Quint: Yeah. I saw John Carpenter speak once and somebody asked him if he was cut a check for any amount of money, what movie would he make. He said THE STARS MY DESTINATION, but said “It can never be made.” He didn’t see how it could ever be translated.
di Bonaventura: Well, I think that’s the real trick and I hope that we are smart enough to figure it out. We’ll see and we’ll see how people feel about it and frankly we’ll see it from our own point of view.
G.I. JOE is a really interesting and complicated process, because it has two fan bases I’ll say: it has one that exists before the 80’s, and the one that move forward from the 80’s and they are two different fan bases. I’d say on the internet the most vocal fan base would be the post 80’s fan base, but, as a filmmaker, I don’t want to abandon the pre-80’s fans and we’re working very hard to come up with what is similar between the two things I think attitude and values-wise. Particularly values. You know… loyalty, courageousness… That if you had never seen the TV show or read the comics, what would you say? Those ideas do exist in the TV and the comic books. They were definitely drawn on when they were made, so that’s the unity of the two ideas.
The characters are fantastic… Snake-Eyes… they present their own challenges because the character doesn’t talk and is a difficult character to figure out how to register on screen and it’s a fun challenge, but it’s a challenge and like every strong fan base, people are very passionate about one thing or another and what I always try to encourage people to think of the process of germination first and it’s a process of evolution and actually you get to the ideas that really land and we’re somewhere in that germination-evolution transfer right now, so we’re pretty early in the process.
Quint: I think, without dragging this out too much longer, probably what fans are going to immediately jump on is the period. Like you said, there are so many different iterations, you know?
di Bonaventura: Yeah and it’s difficult, so for me, I’m trying to go back to the original comic books and go back to the thing that existed before the comic book and then take, as best we can, the things that come together then. They don’t all line up I don’t think, but take as many things that line up as possible, put them together and come up with a story that is exciting.
A lot of people say “Well, I want this character in” or “I want this character…” and like every property like this, you can’t handle every character or else you have a story that makes no sense, so we’re going to have to make those choices. There are so many characters that so many people love and it’s immediately such a controversy when you talk about having one or killing one or doing something slightly different than what was done before, but like all of these properties if you’re not true to what it is, then you’re going to fail and I’m acutely aware of that.
There it is. I’m finally seeing TRANSFORMERS later tonight. I’m excited. My expectations are up. All the other summer tentpole type movies haven’t really put any wind in my sails. I liked PIRATES 3 more than most seemed to, but I will say that I never did feel the urge to see it a second time.
So, I hope TRANSFORMERS scratches that summer film itch for me.
I have a few more interviews that should hit in the very near future. Still putting the finishing touches on that Daniel Radcliffe chat, but that’s really close. Thanks to Muldoon for the transcription work.
-Quint
quint@aintitcool.com
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"What I've Done" gets played a couple of times in the movie, but it never fits with the images...
The Movie rocked hard. Ironhide rules :-) -
think he's reformed?
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he talks about Transformes and then he says he works with “what can I emotionally connect to and what do I find intellectually fascinating?” sounds like totally fake bullshit politician/moneygrubbing-person talk.
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Deep-space is my dwelling place, the stars my destination!Cool interview. I can see what he means about the ending of TSMD, but personally I'd be worried about too much 'softening' of Foyle, making him too sympathetic rather than the rapist anti-hero that he was in the book.
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G.I. Joe can't work if you get that character wrong.
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Does that mean he's going to incorporate The AT Adventure Team, and SuperJoe with Terron?
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Damn you Michael Bay
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Anyone who frequents the comic talkbacks here know I have an interest in G.I. Joe. This is, of course, another movie that they could really screw up. There's not really any continuity as far as the old 60s Joes go, although in the comics, the team is now commanded by a guy who's supposed to be the original 60s Joe, now an old General. Any movie they make should be James Bond crossed with a war movie. But if anyone is afraid to go with the "Real American Hero" angle, and want to back away from being too pro-military, etc, well, don't bother making the movie
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Yeah, sadly, it probably isn't. Never mind the typographical insanity of its last chapter, there's a longish prison scene that takes place in complete darkness. Not very cinematic. And the concept of jaunting... how do you explain that in a movie? But hey, they made a Tristram shandy movie, so I guess everything is possible if you stray far enough from the source. We may yet get a good movie out of it, even if it has very little to do with the oriinal novel.
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He'll do some badass fighting, and we won't have to see his face or hear him talk. They could get Thomas Jane for Duke, Matthew Fox for Flint, Evangeline Lilly for Lady Jaye, Bryce Dallas Howard for Scarlet, Terence Howard for Stalker, and Michael Clarke Duncan as Roadblock.
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Kurt Russell as General Hawk
Thomas Jane as Duke
Bridget Moynihan as Scarlett
Freddy Rodriguez as Shipwreck
Ving Rhames as Roadblock
Steve Buscemi as Cobra Commander
Jeffrey Wright as Destro
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Every mention of a G.I. Joe movie seems to spark endless cast lists. I guess it's no different with other properties, either. My favorite is when people cast based on hair color. There's a character with red hair. Bring me the list of redheads!
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You make some good points, but what's the problem with displaying 'jaunting' visually? Surely having people disappear or appear suddenly in a place was *the* original special effect/camera trick?
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Sorry, has no really big fan base. Action Man? Looks like this boner already has his mind made up to make the shitty script that Latino Review previewed already. I want to see 80's Joe kick ass with Cobra Commander and Destro,is that to much to ask? I mean i've only been waiting 20 years to see this.
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I thought you were supposed to be nicer than Regular Jerry. Anyway, do you think those suggestions are bad? Who would you cast?
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I hope Mr. Bonaventura is reading the talkback replies. As a very serious G.I. Joe fan, I'm as concerned as the next guy about the quality of the movie, and let's face it, we haven't heard much positive news in the form of script reviews, etc...
That's not to be negative. I'm just saying that there's a lot of nervousness about this subject among the fans. I would offer a serious piece of advice to Lorenzo: you REALLY should consider bringing Brandon Jerwa or Larry Hama onboard the project, at least to help steer the ship in the right direction. My first choice would be Jerwa, simply because I think he's a better choice for a modern audience. Hama is the godfather, but his recent writing has come across old-fashioned to me. Jerwa has created some great Joe work (check out Master & Apprentice and Snake-Eyes Declassified, both in trade), balancing a reverence for the source material and breathing new life into the franchise.
If you want to do it right for the movie crowd but still satisfy the fans, I would BEG you to include one of the two best writers the franchise ever had. Jerwa! Hama! Do it! DO IT!!! -
If you make it just dont fuck it up...nuff said
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Don't you fucking even DARE screw that up! You fucking misearble moron of a producer, I don't care what you do with other properties and to fuck with GI JOE but don't you FUCKING SCREW it up?
How can you say that the ending is uncinamatic? It's one of the most potentially cinmatic things ever! Jeez, just friggin film it by doing a bunch of POW shots from Gully's viepoint and a bunhc of objective reaction shots. -
...he would actually be THE perfect guy to do a GI JOE movie. You'd have all kinds of wild action set pieces, you'd get a decent cast (even if the story's lame), and he's insanely unapologetic about flag-waving. It could be the most jingoistic movie ever. I just don't want to see any fucking robots, clones or bug-men in it. Just soldiers and ninjas kicking terrorist ass in a global free-fire zone.
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I mean, ok, to be fair, all I know of them are the tall barbie-like figures and the cheeky commercials and the ambiguous villain, and the assumption that there was no plot. 80s GI Joe had plot, had action, had real villains, had awesome villains, and had great heroes with great values. Let's stick with that.
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Check out Valiant Comics if you want characters that would be some fantastic and exciting films. There is a Valiant contest on AICN right now. Someone really needs to get on the ball with this, why not you?
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Trailer looks amazing. Can't wait to see it. Am excited for Stardust and GI Joe. Seems Lorenzo knows what he's doing and respects the fanbase.
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Trailer looks amazing. Can't wait to see it. Am excited for Stardust and GI Joe. Seems Lorenzo knows what he's doing and respects the fanbase.
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...about someone screwing up something I loved from my childhood...
I would stick with the reconnaissance story line with Snake-Eyes, Storm Shadow and Stalker, but somehow try to tie it in to 2007. I really hope Joe-veteran, Larry Hama has something to do with the project. Here would be my casting if I were in control:
Snake-Eyes - I have no idea…
Storm Shadow - Collin Chou (The Matrix)
Stalker - Michael Beach (Third Watch)
Duke - Brian Van Holt (Black Hawk Down)
Scarlett - Marley Shelton (Grindhouse)
Flint - Matthew Settle (Band of Brothers)
Lady-Jaye - Hillary Swank
Roadblock - Eddie George (retired Tennessee Titans football player)
Hawk - Michael Biehn
Cobra Commander - Tim Roth
Zartan - Val Kilmer
And I would keep it to that short list. It would be great if someone who could handle action scenes AND acting was at the helm, like Christopher Nolan or Paul Greengrass. But alas, my hopes are low for this... -
Wow how exciting. GI Joe can only be done as a series, not a movie. But than again, all you need is that opening weekend box office and that's all that really matters anyways.
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Damn you di Bonaventura.
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One of my all-time favorite Sci-Fi novels. I'm still hoping that it gets made, if for no other reason that it might lead some people to read the book and appreciate Alfred Bester. Still, it will be extreemly difficult to film and to do proper justice to. Fingers crossed!
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I wasn't saying it was a bad thing discussing casting. It's just funny that something about GI Joe seems to lead to more "casting call" discussions than a lot of other properties. I'm not very good at those exercises. I thought Jen Garner woulda made a good Scarlett. And a long time ago, I came up with Henry Simmons -- used to be on NYPD Blue for Roadblock. This pic seemed to fit: http://tinyurl.com/23g3lt
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needs to be Duke, Scarlett, Snake-Eyes, Roadblock, Gung-Ho, Shipwreck (for navel represenation), perhaps Spirit, perhaps a cameo from Hawk (I was going to nix Hawk till I read the Beihan suggestion), I would forfit any pre 80's GI Joe espically Action Man was it, that's going to make your target GI Joe auidence (men 18-35) think of Venture Brothers, I think anyways. And they have to fight Cobra, at this point, GI Joe is synomus with fighting Cobra, and it's must be Cobra Commander, Destro, Barones, and Storm Shadow, possibably Zartan and the Dreadnaughts. I wouldn't add Flint, I know he has his fans, but don't bring Flint and/or Lady Jay into the mix. And for the love of God, don't combine Lady Jay and Scarlett's char. or even add in the other lame female Joe, the one that used to be a model and then drove tanks. One other cameo I'd suggest would be Wild Bill, just because he was always a favorite of mine. That's the problem, everyone has their favorite line up, wild Bill Fans, flint Fans, shoot there are probably even Bazoka (that was the baseball cap wearing dude right, he was lame) fans, it's hard to pleas everyone with a lising as big as the Joe library. But I think those re the core ones you need to have
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characters for one film. I know making a trilogy out of it just gives them 3x the chance to F it all up but I really don't see how they could do even 1/4 of the "core" characters (Joes and Cobra)justice in two hours.
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Of course a Joe movie will be pro-military, but my fear is that it will end up merely a generic jingoistic war film or something which tries too hard to be socially aware. I know most Joe fans much prefer the days before Serpentor and other fantastic elements, but I think it is important to remember that it is, was and always should be (IMO) on some level a fantasy.
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Get Joe Carnahan to direct *G.I. Joe* OR Zack Snyder. And have Larry Hama as the story consultant with real input and final approval on the script. Ditch Lorenzo's idea of making it a "buddy flick" and also ditch any pre-80s influence on the story line. This should be purely the rise of the G.I. Joe team to counter the rise of Cobra. Anyone who lived through the 90s and saw the rise of the Patriot movement prior to its collapse after Oklahoma City can see how believeable an organization like Cobra could come about. All you have to do is make Cobra Commander a charasmatic and meglomanic version of Timothy McVeigh, which his origins pretty were in the comics via a disaffected failed used car salesman with fascist ideals and zeal. Kurt Russell should be Brig. General Hawk serving below General Flagg. Monica Bellucci as the Baronness (sic). Duke should be Ray Stevenson if he can do an American accent. Hell, he could be either Duke or Destro (well, if he can do a Scots accent). Sean Bean could play both Tomax and Xamot if they were present. Cuba Gooding Jr. could be Stalker, although Terrance Howard would also work. So would Michael Jai White. I agree with the suggestion of Ray Park as Snake Eyes. Donnie Yen must be Storm Shadow. Lorenzo, if you cast Jet Li in that role, I will personally track you down Silent Bob style and give you a swift "Yo Joe" kick at your front door. And that's all I got as of now since coming back from lunch. I might have more later.
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He already had bizarro world Dreadnaughts appear in *Smokin' Aces*. That's the first thing that came to mind when I saw the Berzerkers.
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Good call, Mosquito March. Bridget Fonda for Scarlett???
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Seriously, how HOT is Sienna Miller? I thought she looked good in Alfie, but you should check her out in this flick!! She looks even better, if that’s even possible!? If I were living in her village in England…I’d travel long-and-far to get her a fallen star, or whatever else she asked for…that’s for sure!!!
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