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It was back in the Spring of 2000 that Steve Burns, senior VP of Discovery Production, gave me a call. He wanted to make a film on the Iceman--the oldest mummy ever found.I didn’t know much about the topic, so ten days later I headed north... up to the South Tyrol Museum of Archaeology in Bolzano, Italy. As I walked into the museum, I felt like I was going back in time. I saw this man, 5,300 years old, but still perfectly preserved -- a little shrunken, but all his flesh and muscles and organs were still there. Here he was -- a Stone Age man... and you could see right into his eyes. I was hooked. I sat down with my writer/coproducer, Robert Goldberg, and began to imagine the world of this Stone Age man... this grandfather of us all... What kind of tale could we tell?.... We were lucky. Today's documentary filmmaking has really changed. You really can recreate worlds that don’t exist any more, with the help of incredible computer generated images and digital technology, now accessible for documentaries, not just big Hollywood productions. And I saw here a great opportunity to create an ancient world--as beautiful and tough as the mountain where Otzi’s body was found. I was fortunate enough to have some of the best people in the industry helping me recreate Otzi's world--cameramen, stuntmen, editors, production designers.... Together, we set off on a voyage back in time.... |
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At the start of every film there are two key challenges: What is the story? What is the ''look"? As we set out to recreate Otzi’s world, it was our executive producer at Discovery Channel, Steven Manuel, who gave us the lead: Make it a detective story... Working with the detective angle, Rob Goldberg came up with three or four “motif” questions that would drive us through the film: “Who was this man?" “Where did he come from?” “How did he die?” Little did we know just how much of a detective story it would turn into...
Meanwhile, I really wanted to capture exactly how people in the mountains lived in those prehistoric times. I love to create worlds, and I knew that every facet of that world has to be right--the film has to take you into that world. And so we started to work very closely with art director Mark Dubeau, from Meteor Studios in Canada, along with concept artists Andrzej Tutaj and Sean Samuels, to create a look for all the re-enactment sequences.
We decided that to create the feeling of a prehistoric world, we would give all the filming on the glaciers a cold, bluish look. Working with a color-correction computer, we also added a glow--a luminous quality-- to the shots of ice and snow...creating an effect which takes you out of time and reality”. |
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www.brandoquilici.com - Copyright © 2002 Brando Quilici - All rights reserved | |
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