Well, at least we can see sense sometimes. Not complete sense, I have to say, but it’s a start. Nobody very nearly beat Chris Weitz to the top spot for the direction of these movies. So close. People seem to have this misguided idea that these films are a cunning plan, and while that is certainly true, to some extent (the extent of the New Line boardroom), everybody, including New Line, seem to be forgetting something. In order for these films to work- at the very least, in order for these films to rake in the cash that New Line is making them for, a good director is everything. The writer is useful, to some extent, but lest we forget Springtime for Hitler. The script can be abysmal, atrocious, any number of adjectives, but without a good director, the film is nothing.
Directors are there to ensure the film matches the subject material. They give the feeling to the scene, essentially, as without the director keeping his interpretation above all others, there would be thousands- the sound recordist would have his, the cameramen would have theirs, lighting, set building, CGI department- hell, even the actors. So it’s important that one person keeps all this under control. And it’s even more important that that one man has the right interpretation. Nobody wants to see a flop at the box office. Not even me- if a film is a flop, then I am proven right and the film world really is going down the pan. Especially if the film is as important as this. £80 million is not a small amount of money. And so New Line has to be much more careful than it is being. In the beginning, Chris Weitz was the original director. Then, suddenly, he wasn’t, due to “challenges”. And now he is again? Are we sure we want someone as changeable to direct, NLC? A man who originally pulled out because he felt CGI in this day and age was not up to the task is the director again, and you’re letting him loose with £80 million?
That doesn’t sound like a good idea to me.