Surrogates Question And Answer Session With Director Jonathan Mostow Part 4

January 24, 2010 | by Disney Dreaming

We have been posting numerous sections of a question and answer session with the Director of Disney’s “Surrogates” movie, Jonathan Mostow.

Surrogates comes out on Disney DVD and Blu-ray on January 26th!

Check out part 3 of the interview here, and part 4 below:

Q: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we’ll see any good ones this year?

Jonathan Mostow: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don’t think it’s a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Q: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.

Jonathan Mostow: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Q: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?

Jonathan Mostow: I really appreciate this question because sound is something I care deeply about and I believe that mixers I’ve worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it’s my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I’m very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Q: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?

Jonathan Mostow: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it’s tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Q: “Surrogates” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Surrogates”?
Jonathan Mostow: I think I answered this question earlier, but I’m re-addressing it here because I like your reference to the “growing need of anonymity”. That’s a big sub textual theme in Surrogates and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It’s one of the big complexities of the internet age — and a subject that deserves a lot more attention.
Q: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.

Jonathan Mostow: Thanks for the compliment. My approach to commentary is to provide the kind of info I’d like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money’s worth, so I’ll provide as much useful information as space allows. My assumption in the commentary is that if you’re listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you’re sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you’re saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don’t fall asleep listening to your voice.

Q: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?

Jonathan Mostow: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it’s a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn’t have thought about previously. For example, someone today asked about the thematic connections between T3 and Surrogates. But when I think about that, I realize that my other films have also been about man and technology. Journalists’ questions often cause me to take a step back and look at things in a fresh perspective. Historically, I’ve enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Q: I found the distinction between the surrogates and their human handlers interesting. Can you expound upon why such a drastic difference?

Jonathan Mostow: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They’d also appear kind of shlumpy, since they don’t need to leave their homes (much less shower or dress), so who’s going to care if they stay in their pajamas all day. On the surrogate side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their surrogate looked in a mirror, for example, they’d see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe’s character, or Rhada’s.

Q: One of the deleted scenes shows the surrogates’ prejudice towards a human being among them. Why was this particular element cut?

Jonathan Mostow: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to “meatbags” and other moments that indicate a hostility and prejudice toward those who reject the surrogate way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Q: This isn’t your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?

Jonathan Mostow: It’s true that I’ve touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it’s an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Surrogates, so I’ll answer accordingly… Whereas T3 posed technology as a direct threat to mankind, I see Surrogates more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Q: Can you explain the casting choices in Surrogates? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?

Jonathan Mostow: The interesting thing about casting this movie is that for the surrogates, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Q: You’ve worked with special effects a lot prior to Surrogates. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?

Jonathan Mostow: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Surrogates, but hopefully you’ll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Q: One of your film’s themes is the fears of technology. What are some of your own fears about technology and the future?

Jonathan Mostow: Some people have labeled this film as anti-technology. But I don’t see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what’s new. But I also know there’s a cost associated with all this technology that’s increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn’t spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that’s a conversation that will arise for people who watch Surrogates.