Ultimate Dolph

''We are approaching a start date, but it is not Feb 28. It has not been officially determined''

Right now I'm busy doing double duty -- overseeing the assembly of Dragon Eyes while beginning prep for US4, which is inching towards the starting line. We have some valuable members of the crew already in place, and we've begun designing the look and tone of the film. There's still a mountain to climb just to get this thing off the ground, but we're off to a good start. It will be far more difficult than the last.

Jox wrote:If they didn't change the storyline since Cannes then Dolph's part should be a more important... and badass.

These days I'm splitting time between the Dragon Eyes edit and US4 pre-production. We're about mid way through the first cut of Dragon Eyes, and it's starting to take shape.

I spent a good part of today working with production designer Nate Jones, discussing design concepts for US4. Unlike US3, which was basically a location shoot, this one will involve a number of sets to be built, due to size of the 3D rigs, that call for larger spaces and removable walls. This allows us to design the sets to fit the action, instead of the other way around, which is nice. Still, this one will be an incredible challenge -- to shoot this amount of action in 3D on a tight schedule will require great preparation. We don't have the luxury of figuring things out on the set. Everyone will have to be extremely prepared.

Stylistically, I'm planning on staging some action that plays out in long takes, where things transpire without cuts. In many ways, it's not just an action film -- it has horror elements, and also plays like a psychological thriller. It has a very dark, menacing tone. I want it to be an extremely intense experience for the viewer -- one that literally beats the shit out of the audience.

As far as 3D is concerned, I still feel like Avatar did it better than anyone else, and it's not just because of the big budget. I feel like Cameron used 3D to make the experience more visceral, but he did it without gimmickry. Instead of having things pop out at the viewer, he created an environment that you could look into. I plan on taking that approach -- no gimmicks, no arrows flying at the camera. I want it to be another element of the overall design -- something that enhances the experience but doesn't draw attention to itself and take away from the story.

Hope you're well,

John

-- JC's role is substantial and pivotal to the story. The size of the role, like that of Dolph and anyone else in the movie, has everything to do with the script that I wrote and what it called for. It serves the overall story. Shooting schedules reflect only what the script called for. How many actual minutes anyone has on screen, I don't know, but I believe it's the right amount and I stand by every idea in this movie.

-- It will definitely be theatrical overseas and it is my sincere hope that we'll be in theaters domestically as well. I believe the movie will speak for itself. We have a brilliant fight choreographer in Larnell Stovall, a great cinematographer in Yaron Levy. Between those two, myself and the rest of the cast and crew we're assembling, I believe this will be the best film of the series.

Best regards,

John