Gareth Edwards Monsters took the science-fiction world by storm when released in 2010. For not only did he craft a sensational creature feature and post-Apocalyptic romance, he did it for a micro-percent of the usual Hollywood budget. A marvel of ingenuity, aspiration and determination, it redefined what could be achieved by a savvy genre enthusiast when working off-the-leash within the British independent cinema arena. Edwards of course graduated to the A-List with Godzilla and Star Wars projects. And it looks like the same could happen to Tom Green who makes his remarkable feature directing debut with the continuation Monsters: Dark Continent. On a par with the original in terms of skill, confidence and astute fantasy feel, Green crafts his own inspirational vision using Edwards concepts, ethos and elegiac universe while expanding the myth in extraordinarily thrilling and thought-provoking ways.
Set ten years after Monsters events, Infected Zones have spread worldwide worsening hopes for peace in the Middle East. Captured by terrorists, Team Tiger Shark, a platoon of naïve army recruits, led by grizzled veteran Noah Frater (Johnny Harris), quickly realize those evolving giant squid-like extraterrestrials from Jupiters moon Europa might not be their deadliest threat after all.
It was the unique genesis of Monsters and the post-production process it went through, drawing a lot of attention from the film industry, that gave Vertigo Films bosses Allan Niblo and James Richardson the inspiration for further adapting the world established by Edwards. With Edwards blessing, alongside Monsters star Scoot McNairy who also has an executive producer credit, a follow-up was green-lit as long as the same principles were in place that it had a low budget, a high concept and it broke new talent. Not that Tom Green knew anything about all that when he was asked to meet up with Niblo and Richardson.
The call came completely out of the blue,” he recalls. I assumed they had seen my television work (the series Misfits and Blackout) but they were more focused on my National Film School graduation short KID and my second year project Brixton ’85. They explained to me they felt there was the potential to build a Monsters franchise and they were looking for someone with the same ambition and drive as Gareth. I had seen Monsters, thoroughly enjoyed it and felt it was one of the most innovative pieces of work Id seen in the last few years. They already had a loose idea for a sequel, written by Jay Basu [The Dinosaur Project], and felt I connected with it while being more than happy to embrace a similar production process that Gareth went through. The simplicity with the way Monsters was filmed, the scale it was given as a result and the smart visual effects were all blocks I knew I could build on and develop further. If I thought I couldnt have done that I wouldnt have accepted the assignment. Vertigos main stipulation was it had to be placed more squarely within the science fiction genre this time and the actual multi-tentacle creatures given a wider exposure. Other than that I had complete freedom to do what I wanted with a support system conducive to that end.”
My major contributions to the Monsters: Dark Continent script? I felt we needed to come at the relatively simple story from a more authentic perspective. It basically deals with the human condition during wartime explored through two mens differing psyches. One is an optimistic rookie on the verge of discovering his true worth, the other has seen it all and had his emotions deadened to the point of non-existence. On top of that you have the creature element as a powerful metaphor; the American forces fighting the extraterrestrial threat are just as much invaders themselves according to the local insurgents. Like any good science fiction fable, the story deliberately takes place five minutes into the future.”
Green adds, Poetic creature feature and harrowing war movie is the perfect combination I was after. Obviously I looked at all the war classics for inspiration but the one that resonated and influenced me the most was the 1985 Hungarian drama Come and See. It remains the most devastating war movie Ive ever seen and I still remember sitting there after it had ended in a cold state of complete shock. If Ive managed to put across that kind of power Ill be happy. Because Monsters: Dark Continent is my first film I wanted that rawness and gutsiness to shine through and Come and See made me realize you just have to be brave, go there and explore every horrifying scenario with integrity and intensity. To that end I worked closely with British soldiers, a US marine military advisor and Jesse Nagy who had just completed two tours of duty in Iraq. I cast Jesse as Conway in the movie so the other actors could look across at this 23-year-old guy from Detroit, where the movie opens, and understand where it was coming from and that it was all very real. The Deer Hunter was another inspiration because I wanted the beginning of the movie grounded in the characters and their relationships. That gave the movie space to allow the shift from Detroit to the otherworldly landscape of Jordan, where we shot the bulk of the production.”
Although shot on location 18 months ago now, it is extraordinary how the movie reflects current events in the Middle East. Green agrees, Increasingly so by the minute making it more upsetting and relevant than ever. You cant plan for that. I grew up in the 1990s watching the Gulf Wars and Middle Eastern conflicts on television and it surrounded my generation. That was why the Monsters: Dark Continent narrative was the right framework for me to fly with, because it initially felt so contemporary and discussion worthy anyway.”
He continues, For all the pitch black and traumatic places it goes to, Dark Continent had to essentially be a spectacular monster movie you could have fun with alongside the social comment. So Jurassic Park influences were added into the mix with the various crossbreeds of life forms that have advanced in the decade between the two movies in keeping with adaptations to climate and landscape. It was important we brought the creatures into the scenario in a very organic way, like it would be happening now in the reality of the world today.”
Even so, refusing to shy away from the distressing brutality or horrors of combat flagged up by galvanizing scenes of school bus fatalities, a recreational alien parasite versus dog fight and sudden sniper death the evocative newsreel-style grittiness imbued by director of photography Christopher Ross (Eden Lake, London to Brighton) provides a further urgent toughness that makes the stunning moments of pure fantasy beauty shine even brighter.
Green remarks, A month shooting schedule is not that long, and it was very testing, but it generated a momentum, energy and immediacy that made us all creatively sharp enough to make the bold decisions needed in the moment. Necessity is the mother of invention and all that. But we never had a downside or cut corners. We got the Black Hawk helicopter we needed for the aerial scenes. We got the Humvees for crucial action. We got the special effects person and an armourer. Going in we knew we could never compete with the big blockbusters. All we could do was execute the idea well on the resources we had with a precision to ensure we cracked the set pieces. I look at the movie now and see all that drama and heart achieved by going deeper into the characters, and it was just me, my cameraman and the team of actors.”
Anchoring the battle exploits and monster action superbly are actors Johnny Harris and Sam Keeley, two soldiers sent on the dangerous mission who emerge with their lives altered. Green points out, Johnny is just incredible and he was the right person in the right part. Hes one of the finest actors working at the moment he was amazing in London to Brighton and hes the most committed person to the art of it Ive worked with. Hes grafted in fringe theatre for years, faced personal demons and fought hard to get where he is and thats exactly the Noah character he plays. To say he grabbed hold of the role is an understatement. He underwent rigorous training, nailed the American accent and kept in character throughout the entire shoot. Sam Id worked with briefly on Misfits and he was the perfect actor for the audience conduit to see through his eyes to the unfolding horrors. If I extended myself so did they because it was all about the collaborative effort, giving the cast and crew a platform and then making them shine.”
Green met Gareth Edwards for a few beers before shooting began, But then he was extremely kind in leaving me alone to get on with it. He only checked back in once hed seen the final result and told me he was immensely proud of what Id done and paid me so many compliments. Monsters was a hard act to follow, sure, but I do feel I built on what Gareth had laid down, making it just as emotional and exciting in the process. The sequel wasnt limited by ambition, I knew it had to have heart, soul and veracity and we all certainly gave it that. I wanted it contemplative and lyrical, while delivering on the expected genre beats to deliver the necessary box office, to make Vertigos investment worthwhile.”
He adds, Genre is all about ideas, not the budget. Sci-fi fans dont care about the cost as long as they can enter into a whole new world. Yet its not a small movie, its packed with ideas, purpose and dimension, for a real punk rock ride. And it keeps surprising you. Thats what cinema is about. Monsters: Dark Continent gets weirder and more wonderful as it progresses; the landscapes become stranger, transcending the way it was made with a lot of spirit. Will it do for me what Monsters did for Gareth? I dont expect anything. Ive worked hard all my life on my short films and television series, and all I can hope is people will see the craftsmanship, scale and integrity that I poured into it. I do want to make studio pictures, of course, so Monsters: Dark Continent couldnt be a better showcase for my talents.”
Monsters: Dark Continent premieres at the BFI London Film Festival this week.
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