411 Movies Interview: Julian Bane and Phil Abatecola
Posted by Owain J. Brimfield on 01.29.2008
411's Owain J. Brimfield sits down with the creative team behind an exciting new stage adaptation of The Time Machine!
As regular readers of 411 will know, I'm a huge science fiction buff, so when the opportunity arose to interview the creative duo behind a new stage adaptation of The Time Machine, I had to take it. It's a seminal science fiction work, both in terms of literature and film, and a hugely ambitious undertaking to create for the stage - you can read more about the production at www.timemachinetheplay.com. I sat down with Julian Bane (writer / producer / star) and Phil Abatecola (writer / director) and got their thoughts about the genre and the task at hand.
Thanks for taking the time out of your hectic schedule. I guess the first question is a straightforward one - why The Time Machine?
Phil: First, the story is incredible and inventive. H.G. Wells was a pioneer and we wanted to a story we were both great fans of. Also, we wanted to do something big. Something that nobody has ever done before. Something epic.
Julian: It is the grandfather of all time travel stories. I love the time travel idea and visualized how it could be done, and here it is… with the help of my friends.
How much of a personal investment do you have in the project?
Julian: I've sacrificed much, my wife even more so. We have a two year old son called Andreas, and I have not seen him much in the last few months, only mornings… Precious time with him is worth more than all else I do.
Phil: Our personal commitment to the play has been deep and unwavering. Both Julian and I want to see this play succeed and be remembered as something that was worth experiencing.
Do you feel any pressure in tackling such a reputable source material?
Julian: No pressure. I am immune to criticism… If someone does not like it, they can do their own. This is our attempt - it is art and nothing else.
Phil: Anytime you adapt a book, you want to do justice to the intentions of the author and the story. So, naturally, there's some pressure. With that in mind, this is exactly the kind of material I've always written and always wanted to write, so I felt more than capable and believe that, together with Julian, I have written a faithful, yet original, adaptation.
To what extent were you inspired by the previous movie adaptations of the novel (George Pal's in 1960 and Simon Wells' in 2002)?
Julian: Some of the 1960 version, and the Morlock look from 2002. But I hated the 2002 version - it seems like they did not care about the character of the traveler. There was very little thought on his mindset and reasons.
Phil: I was determined to create the feeling of traveling through time as best we could, much like the movies. The set changes during those moments our hero is moving through time, maintaining similar kinetics that you experience during the film, on the stage. Other than that, by sticking more to the book in some areas, the play diverges greatly in tone than either of the film adaptations.
As a brief thought experiment, if you were to produce a new remake of the movie, who would you have directing and starring?
Phil: Hmmm… tough one. I think that we would have to choose Phil Abatecola and Julian Bane. I hear that together, they're an unbeatable creative force.
If we can go off on a bit of a tangent, were there any other sci-fi movies that inspired you, and what are your favorite SF movies/shows?
Julian:Blade Runner - the best ever done - Doctor Who… Star Trek... Star Wars... and Japanese anime.
Phil: A giant source of inspiration for me has always been Star Wars, Star Trek, Twilight Zone, The Outer Limits, The Black Hole, Primer and The Terminator (I & II).
What would be your dream sci-fi movie adaptation?
Julian: Another Blade Runner film, with Harrison Ford… he's the best.
Phil: For years, it's been a huge dream of mine to adapt Dan Simmons' Hyperion and Endymion novels. To me, those are perfect examples of epic science fiction stories where the human element is more important than the fantastic science that surrounds it. This is exactly the kind of writing that made H.G. Wells the brilliant author he was.
Getting back to the play, how difficult did the visual element of the production prove to be? The time machine itself certainly looks pretty impressive, and I'm curious about the two-tiered stage you're implementing...
Julian: The most complicated play I have ever seen for this level of budget, ever. In order to achieve changes in time the actors must move from the back and higher stage to the lower and front stage, while sets are on wheels and are moved as the machine effects occur.
Phil: The visuals were vital to the success of the play, so a lot of effort and time went into making sure they were good enough to support the story. The two stage system was designed to allow our actors to move from one area in the story to the next without having to stop the play down to change the sets. This keeps the story flowing, thereby keeping the audience engaged at all times.
Any unforeseen problems that you've had to overcome in staging the production?
Phil: The fight scenes and the technical mountain we had to climb. Staging fights always takes more time than you think and the complicated nature of the play required that we double our rehearsal time and take the better part of a year to prepare everything.
Julian: The crew was difficult, many backed out and quit. It's hard to find devoted people. Casting was also difficult and time consuming, but we have most of the elements now… we just have to work out the kinks, and I need some rest.
Why do you think it is that theatre tends to embrace fantasy much more than it does science fiction?
Julian: Because it is basically impossible to pull off. I do not know of anyone else who could do it at this budget... You must build, paint, act, sew, manage people - and have a theatre that would let you build for six months for free. That is almost impossible in this town.
Phil: I think that people forget that science fiction is about the humans who inhabit its world. Often, people get caught up in gadgets and esoteric details that have nothing to do with the story. If you focus on the story and the humanity, a sci-fi play should be easy. Once you do that, it's the SCALE of the project that makes it difficult. We chose to do it big. Any other way, for us, would have been a waste of time.
Is this production likely to pave the way for future sci-fi stage adaptations? I'd imagine something like Verne's Journey to the Center of the Earth, say, would prove similarly challenging...
Phil: I think that depends on how much money you'd like to throw at us.
Julian: Yes, if the right people would come see it. It depends on how big this gets… it could just disappear in a month, who knows.
On a related note, do you guys have any other projects lined up once The Time Machine finishes its run?
Phil: As a matter of fact, once the play is done, we're going to complete the radio drama of The Time Machine!
Julian: We have the best sound designer in town...
Phil: After that, I believe it's on to separate projects for both Julian and myself. For me, I'm currently raising funds for a feature film or two!
And finally, any sci-fi movies on the horizon you're particularly excited about?
Phil: I'm very much looking forward to the next X-Files installment, Cloverfield and the new Star Trek film.
Julian: Just sleep... but maybe Star Trek.
Thanks to Julian and Phil, as well as Greg Ptacek, for their time, and I'd certainly recommend that if you're in the area you check this production out - it's a highly original take on one of science fiction's most celebrated works and promises to be a must for any fans of the genre.
Solaris Productions' The Time Machine is showing at the Women's Club of Hollywood, 1749 N. La Brea Ave., Hollywood. Showings commence on Friday 25th and Sunday 27th January at 8 pm, with further showings on the 1st, 3rd, 8th, 15th, 17th, 22nd, 24th and 29th February, as well as the 2nd and 7th March. Tickets $20 - for more details visit www.timemachinetheplay.com
