Adventure novel Sci Fi
from
Michael James Martino author of "Let & the Get the Rowdy!" And "SancZOOary"
Mounted deep inside the mysterious Bermuda Triangle and Atlantis
near the Andros Island in the Bahamas, this story explores
the possibility that Atlantis had once stood up spun in a cloak
clairvoyance, lush connections and water respiratory visitors
from another world, all of which are frozen,
high sea search to find answers to this ageless question ....
Scince the Occam - The Razor film is based on the novel, the publisher of that time, the IBC (Internet Book Company) was able to get an exclusive interview with Michael only about what was associated with the creation of a film of this scale.
IBC. You told us that almost half of the Razor novel in Occam contains material that is not in the film version. Knowing how intense and exciting the book was, you could maintain the same level of intensity in the on-screen version if it was only half the story.
MJM. Yes, because the film is not quite half.
IBC. Wrote a script and a book in which it is difficult to explore the secrets of the open sea?
MJM. No, because I love the ocean and not afraid of it. In addition, I was a scuba for many years, most of my free time spent on the outskirts of the West Indies, the Bahamas and the Virgin Islands in the United States, where I lived for a while, when I left show business, playing the role of rock stars around the world, the inclusion of dives and underwater ex-ploration of sequences in the film was not difficult, as soon as I received the promise of history and where he was going to go into my brain.
IBC. After reading "Occam's Razor", it is difficult to imagine how a film is made with such an action, both inside and under water. Will most of the water's action be performed using special effects?
MJM. This is an interesting point that reminds me of the production meeting we had in the early planning stages of this film. With a water film that includes a number of tricks (both on land and on water), this our director of choice was always Al Giddings. Al's reputation as an underwater filmmaker, producer / director has won him global acclaim. His films include James Bond water films, The Deep, The Abyss, and a monster who is not involved in the creation of Titanic. As the creator of the film with its extraordinary skills, Al firmly believes that if you can use real perspectives and actions, do not go to the computer. Computer images are an incredible resource that can be used as a back position when trying to capture impossible shots, but not for use as a rule of thumb, because the real one is the screen is always better than an illusion. if it can be done. Considering this philosophy, we decided that two directors would be used for this film: the general director, who will be responsible for the final reduction, but focus on all the water activities and the second director, who will be solely responsible for the land plot. After making this decision, we spoke with Stephen Lisberger, who had some experience with water, but also made the computer classics "Tron" with Jeff Bridges.
When Lisberger and Giddings came together, it was like mixing oil and water. You have no idea how it was for Lisberger to tell the greatest oceanic cinema in the world that he wanted to make the most of the big scenes with sea mammals inside computers, without even approaching a drop of water. It was a creative clash with the nail, ending in Lisberger, heading for the airport, and Giddings, using technologies that he wanted to use in this film that no one has ever seen.
IBC. Well knowing that special effects will be minimized with this film, how are you going to collect whales, dolphins, sharks, turtles and tons of other fish around all divers when you shoot?
MJM. I know it sounds difficult, but it is not. At meetings with Giddings, he suggested that we find a small bay in the Bahamas and pick it up. By this I mean that we put a transparent fish net, such as monofilament used on the fish line, and the net of both fish and camera lenses is not visible. Then, as soon as it ends, we will literally fill the bay with tons of fish and marine mammals, throw it into the crew, the actors and the cameras, and shoot.
IBC. You make it easy. Does it work in deep water?
MJM. Yes. It is completely wrong to say that there is no danger of making a film under water. However, certain rules follow the hazard factor. can be cut to an acceptable minimum. For example, if you dive to a depth of less than 10 meters or 30 feet of water, you do not create what the divers call bottom time, which means that the risk of expanding gases in your bloodstream does not quite exist. When Al Giddings took down the "Abyss" with James Cameron, they worked 10 meters from the water most of the time, and Al said that there were days when they were under water almost 8 hours at a time. The obvious question that comes to your mind is how can you make 30 feet of water like hundreds of feet? Simply put, the answer is to be careful when you point the camera. The lack of film makes daylight look like a different stress of darkness, and so on.
IBC. There are a lot of dolphins in this story. How can you get them to do something in front of the camera?
MJM. Believe it or not with a little work that most dolphins work with easily. Flipper and Dolphin Day did not pretend to be stories with rubber dolphins. For example, near our underwaresite in the Bahamas there is a place called The Underwater Explorers Club, where people can interact and swim with live dolphins in shallow water. In the films “Zeus and Roxana” and the new “Flipper” some of these mammals were used. Sometimes you can draw a simple palette on the board with grease, show it to a dolphin, and with a little luck and patience they will float to where the cameras are and do the trick. Where there is too complicated a trick for the children to train dolphins, we give robotics.
IBC. Robotics?
MJM. Yes, like mechanical dolphins, they are exactly the size, shape and color, with the same body language as the real ones. Remember “Splash?” In this film, the winner of the Oscar award, Don Pennington, used 6-foot robotic dolphins for swimming and underwater movements, radio-controlled from the surface with the same joyous chopsticks that people use in video games. Remember that dolphins, gathered from the rise of the mother-shiupa at the end of "Cocoon"? It was Pennington with the help of free floating amateur radio dolphins.
IBC Subsea installations difficult to build?
MJM Not at all. Most of them include base wire and wood framing with fast drying foam sprayed onto surfaces, which are then painted with non-toxic paints, flooded and weighed so that they do not float. Most of the films that involve caves, tunnels or large rock surfaces are foam forms. If you think about how much time it will take intelligence officers and production managers to find real caves in accordance with the scenarios, it becomes humorous.
Need to mention the barge, underwater lights, the interaction of the soundtrack
