Dylan Dog - Intervista al regista > Speciale
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Dylan Dog - speciale - Cinema Thanks to Dan Forcey, VP Development of Platinum Studios for making this interview possibile.

Andrea Bedeschi: Kevin, before Dead of Night you shot the TMNT Movie. And it was a CGI movie. Did you find any particular trouble dued to this change? When you deal with digital characters you have to face with a wide squad of techinicians and animators that have to give life to one single character, following the director's needs. If you have to interact with actors I suppose that the general approach becomes quite different. You find yourself more confortable with "CGI actors" or flesh and blood ones?

Kevin Munroe: It was actually surprisingly similar. You're still stuck with the same mission - to tell a good story, regardless of the tools provided to you. And actors are actors, but in cgi, we call them "animators". Not that the voice actors aren't just as important, but it's a much more spread out process. In some respects, live action is a little more manageable as it's one actor, one performance, and I really enjoyed that a lot. In cgi, you can create anything you want, so sometimes there can be too many choices. But on the other hand, it allows you to do whatever you want, so there isn't the limitation of a sun setting, or weather, or anything else that can camper you in live action. But funny enough, there are still practical limitations in both mediums - you can only afford to put in so many lights in a cgi set, or cgi characters. Just like in live action you can only do so many hours on a set. Or prep a scene for so long. Complicated answer to just say that I love both mediums. And I guess it just depends on what the story requires.

AB: With TMNT you did a very good job, because you made a good mix between the darkest, badass qualities of the original comic and the kid-friendliness irony of the animated series. What's your general approach with Dylan Dog?
KM: The general approach with Dylan Dog was to make it BELIEVABLE. I love taking fantastic worlds and characters and somehow making them relateable. So the audience can say "yeah, if I was a zombie, this is how I would live". And with Dylan Dog, that was paramount to me. The audience had to believe that this world lives in our own. And beyond that, being very faithful to the tone of the original comic book. He is such a unique character with such  unique point of view, that it was essential to us to make sure that translated to the big screen.

AB: As a comic book reader, i grew up with american comics. But in Italy we have a strong tradition about comics. I mean, the first Mickey Mouse comic book was printed in Italy by Walt Disney Italy, the first Disney's subsidiary that has been founded outside the United States. Sergio Bonelli Editore is probably the most important publishing house of fumetti (the word we use to indicate comics), and it's a sort of national pride: it's born after the second WW and it's one of the symbols of our creativity and capability of raising up after a bad fall. Dylan Dog is the most succesfull creation that came from Bonelli and after almost 25 years, it still sells millions of copies. For the american film industry is quite usual to take characters or stories from other countries and culture and transform them in worldwide icons. But Dylan Dog is a kind of national treasure: everybody knows this nightmare detective, both the little kid and the distinguished PhD. Do you feel any particular kind of pressure about that?
KM: Well I didn't feel pressure before that question , but now I do! I'm just kidding. I don't think i'd describe it as "pressure" per se. Pressure to me usually means something negative in this sense - the fear of failing. Or when you feel pressure, you are more worried about screwing up rather than just doing a good job. And there is a vast difference between the two to me. Being a fan of comics (I love that there are hundreds of directors who are suddenly "comic book fans", but I honestly am from an early age), games and having worked in both of those industries, I completely understand the love you pour into those products. Not only that, but I understand the love of a fan and a loyal following. But the biggest way to uphold that is to make sure that you make a good movie. I learned a lot of that with ninja turtles - the balance of being reverent, being a fan, and just being a film maker. And I think Dylan Dog is the result of a great balance of all three.

AB: Every Dylan Dog's comic book sets a specific story. We don't have one saga that lasts for a long time through many issues. Anyway the character has a personal background that emerges through the 280 and more issues of the comic. We've got very special relatives, Xabaras and Morgana, and on the other side the adventures where we can see Dylan against zombies, serial killers and every kind of horror oddity and so on. Do you want to create a mix of all this peculiarities or have you decided to cut some aspects to enhance others?
KM: I wouldn't call it "cutting" aspects, but there is certainly a need to focus on certain aspects while leaving room to have those other aspects still be able to be brought into the franchise as it continues. It's honestly like any other comic book franchise in the sense that Dylan Dog has a HUGE lore to it. But the movie translation of that lore has to start with a single story. Something that sets up this fantastic world and even more fantastic character. Without giving away too much, i can tell you that anything from Dylan Dog lore that isn't present in the Dead of Night chapter can certainly have room to be introduced in the future. It would be silly to ignore those aspects.

AB: Speaking about monsters, we are living a vampire madness right now. You know, the weirdos vegetarian Twilight's vampire and so on. We will see some blood-suckers in this movie? Or what else? We love creepy creatures and we love especially Dylan Dog against scary monsters....
KM: We have young hip badass vampires, old kooky vampires, zombies you'd probably call your friend, people you always knew were zombies, flesh eating whacked out of their mind zombies, werewolves, dead werewolves and a creature of such biblical proportions that all these monsters are too afraid to mention its name. Yeah, were all monster fans here. And none of our vampires sparkle in sunlight. (Standing ovation required, please - Andrea Bedeschi)
Groucho and New Orleans
Dylan Dog - speciale - Cinema AB: You have replaced Groucho, Dylan Dog's long time assistant, with a zombie played by Sam Huntingotn. Sam deserves all my respect for his role in "Fanboys" (yes, I'm a Star Wars addicted, strange uh?), but why you have decided to eliminate Groucho? Is there any copyright problem behind these choice or you simply think that a zombie sidekick is more digeribile by modern audiences? By the way, I noticed Groucho's presence in the picture that you put above Dylan's desk.
KM: The first wave of that change came, yes, from a legal need. But I can tell you that his relationship with dylan in the movie is a complete homage to the comic's Groucho. Sam and Brandon are great friends in real life, and that friendship shines through in this movie. Sam did a fantastic job as Dylan's sidekick, and we made sure to acknowledge the roots of that character in the film.

AB: When I saw the desk, one of the few things that you have showed through the web, I liked very much all the references to the comic-book: Groucho's picture, the never-finshed galeon, and the clarinet. That's a little thing, but is a good premise. In your picture, will Dylan Dog keep all his typical characteristics? I mean, will we see him playing the clarinet, driving his old Beetle and spending his spare time with beautiful women?
KM: Without giving away too much... yes, yes, and yes. I love that desk montage that we did - fans should be very happy with it. But our honoring of the comic doesn't stop there. It continues throughout the entire film.

AB: The buzz over the web is the most cover road when a studio has to promote his activity around a project. But you avoid hammering Twitter updates, Facebook's fanpage and so on. Can you tell us why?
I read that the trailer is done. Can you give us some more details about his relase? And what about the movie? Have you already stipulate any kind of deal with italian distributors?

KM: There is no official release date yet. I'm sure that others can elaborate more on the details of any italian distributor, but I know it was one of our primary concerns. As for me avoiding the online stuff - it's really not the case.  I've learned over the years and projects that you can easily over saturate a market if you start too soon with not a lot of information to share. Regardless of how excited i am about a project, it's a lot to ask of a fanbase to keep up with that excitement when they're unable to see all the cool things I get to see every day. Or listen to the amazing music that Klaus Badelt is doing - which i just finished listening to. See what I mean? And especially when we don't have an official release date, I'd feel horrible to start teasing and talking up the film only to run out of updates. It's an analogy used a lot, but film making is like running a marathon. And if you don't watch it, you'll burn out after 10 miles. And being a fan myself, I'd hate that. So please know that it isn't out of anything except me knowing all the great things that are about to come your way. And then there will be so much of me that everyone will wish that I went back into hiding.

AB: Will you show the movie to Tiziano Sclavi (Dylan Dog's Creator)? Has he show interest in the project or was he involved in some way?
KM: Platinum Studios has really been the main interaction point with him. I personally would show him if the opportunity presented itself. We had reps from Bonelli on set and they were very nice people. Includine a writer of the comic as well.

AB: Dylan Dog has a specific living counterpart: Ruper Everett. The english actor portraied a Dylandoguescque character in Michele Soavi's "Dellamorte Dellamore" (you know it as "Cemetary Man"), wich is a little horror cult loved by Scorsese and Tarantino based on Dylan Dog's special issue "Orrore Nero". Have you seen this movie?
KM: Yep. I actually saw it years before I took the job with Dylan Dog. I like Soavi's work a lot.

AB: I think that Brandon Routh has the perfect phisique du role to become a great Dylan Dog. Did you have a long casting session to found your protagonist? And why did you choose Brandon? What did you see in this actor?
KM: Brandon has a great hardness to him as an actor, but he also has a great sense of humor and also a very human side. I think that because Dylan has such a complicated and emotional past, yet he still has to step up and save the day, makes Brandon a great choice. And it was important for us to make sure that Dylan WASN'T superman. He has to fail.  A lot. That's one of the endearing parts of the Dylan character to me. He just keeps getting up.

AB: Dead of Night is set in New Orleans. Some italian readers say that this setting is going to distort the real feeling of Dylan Dog, who lives and acts in London. Did you decide to develop the story in the US to keep it more friendly to american and international audiences or it was just for a budget-guided purpose? And why did you decide for New Orleans? For his cultural and religious meltin'pot that breeds voodoo stories and so on?
KM: I completely stand by New Orleans as the setting. And yes, while it isn't London per se, it has the same creepy overtones that perfectly fit that London setting. As a fan, i'd be happy with that once I saw it on screen. If we don't have the moors, we have the swamps of new Orleans. Instead of double decker buses, we have trolleys. It's a phenomenally rich city visually, and is the most european out of anything we have in america. It's a great backdrop. New York would have been too typical. And any other generic city would have just been that - generic. And on a side note, the people and crew of New Orleans were awesome - so much passion and energy for this movie. It was truly a labor of love.

AB: What should we expect from the spectacular side of this picture? Cgi effects or some good old style prosthetic and make up effects?

KM: Expect to  have a great time. There is a great mix of everything. I love practical prosthetic effects, so we have a lot of those. Just good old scary suits and makeup. But we also have some really big cgi effects - but done in the best way - most of the time when you don't even realize they're there. It's a great mix. I think a Van Helsing tone would have been too much of a mismatch technically with the world of Dylan Dog. When you read those books, you can feel the monsters, smell them, the world, etc. You don't get that as easily with cgi effects. Everything we've done with this project has been out of a love for that original book series. And i think fans will feel the same.

AB: Thanks for sharing with us your time and attention.
KM: Thank you!
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Dylan Dog

Dylan Dog - Cinema
Uscita nelle sale Italiane: 16/03/2011
Uscita nelle sale USA: 29/04/2011
Distributore: Moviemax
Genere: Fantastico
Regia: Kevin Munroe
Interpreti: Brandon Ruth, Peter Stormare, Anita Briem, Sam Huntington
Sceneggiatura: Thomas Dean Donnelly, Joshua Oppenheimer
Nazione: Usa
Durata: 108 min
Produttore: Platinums Studios.

Formato DVD
Anno di uscita: 2011
Numero dischi: 1
Regione: 2 (Europa, Jap)
Formato Video: 2.35:1
Tracce Audio: Italiano DTS High resolution 5.1, Inglese DTS High resolution 5.1
Sottotitoli: Italiano per non udenti
Sito Ufficiale: Link
Extra: Making of, Interviste al cast, New Orleans come Londra, Marcus, Speciale Dylan Dog, Trailer cinema, Trailer originale
5.4(su 42 voti)
INCASSO ITALIA: 2.071.134 €
Aggiornato al 27/03/2011
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