Warhammer Movie Ideas

The old debate for a Warhammer movie felt put aside after the release of Ultramarines. The feeling I got was Games Workshop declaring, “We’re doing this only for the fans.”

It was not a gigantic attempt, like as a $50 million dollar summer blockbuster. A rumor over at DakkaDakka put the budget for it at around $14 million (£9 million). I gathered that it was not for those uninitiated into the 40k cult. But an idea had been boiling in my head to consider trying my hand at a fan made film someday.

But then I thought about Damnatus, the fan-made unofficial 40k movie that was… “unreleased” a few years back. Story goes that Damnatus was supposed to be a strictly fan made movie with respect to Games Workshop’s IP permissions. The problem came about when it was discovered that German IP laws would require that the movie and its content would belong to the creator of the movie. This loophole was cause enough for Games Workshop to deny permission for its release.

The ugly lesson learned is that time would have to be spent reviewing the differences between the IP laws of England and the United States before even attempting.

Putting aside the legal groundwork of such an endeavor, I began to think about a lot of the technical details to make a film possible. The first issue was choosing which of the two universes I would prefer, be it Warhammer 40,000 or Warhammer Fantasy.

Although there’s more excitement for 40k, I think that Fantasy would be easier to do overall. We can thank Tolkien for giving us a lot of the settings and concepts within WHF, although the Black Library has added its own ugly details, such as the politics and religions, various races both original and not. Still, I believe that the backstory would be easier to settle into over 40k.

Another reason for choosing WHF is the physical settings themselves. Both 40k and Fantasy call for urban settings and for backwater locations. Both Altdorf and any hive would be almost too much to reproduce on a limited budget, so an urban location is not preferable. And 40k often has the Imperial stamp over everything. Landing pads, the aquila, all the vehicles… it would be an awful lot to reproduce even if it takes place in a rural area.

I have recently started reading Brunner the Bounty Hunter, by C.L. Werner. As I ventured through the short stories, it quietly dawned on me that this would be good material to craft a movie from.

Not pictured: His marvelous singing voice.

Not pictured: His marvelous singing voice.

First, many of the stories started with some scholarly character who took down Brunner’s tales. This gives the director the option of using a narrator to fill in the details and explain any issues that may not be easily shown on the screen. These stories aren’t overwhelming with the details, and they are both faithful to the source material and easy to spoon feed to the uninitiated.

Second, Brunner’s tales thus far (I’m three and a half stories in), have taken place more on along the frontier than anywhere near Altdorf. Finding a place to shoot hills and forests would be much easier than constructing huge keeps and streets, especially on a fan’s budget.

Third is the fact that the tales don’t have to be made into a full length movie. The short stories could probably be made into 30 minutes-to-an-hour in length. This reduces the investment of time and money. Rather than banking too much , the success or failure of it can be recognized on a bite-sized piece of film craft.

Fourth is the fact that Brunner himself is such a powerful, interesting character.

Rather than a tiring origin story or extreme development, Brunner simply is. His motivation is clear. His appeal obvious. That steely action-hero glare just draws you in, regardless of whether you have any idea what Warhammer is.

But despite these points, there are hang ups and considerations for a short movie. Of the three stories I’ve finished thus far, two of them involve non-humans. Beastmen and a werewolf. How would I make such monsters on the screen?

It’s possible to try CGI if I know the right people, but I’ve never been terrible impressed by that sheen that appears on the surface of digitally made objects. Besides, it would be more interesting to come up with the right costumes and the right camera work to create beastmen. CGI has its place, but I want that place to be as minimal as possible.

Although the frontier setting would be much easier to recreate, there are still medieval/colonial settings that would have to be made. This is where being an American on the east coast pays off, as there are many historic locations that might work for this effort. Indeed, I feel the setting is more a matter of research and creativity than stage construction.

Another concern is the sheer number of props. Some of it can be alleviated by contacting a group of local LARPers (Live Action Role Players). These guys buy and craft weapons and armor for their sessions, sometimes looking quite authentic and dirty. I’m sure they’d jump at the chance to put together a movie.

That would solve many of the problems, but not all. Brunner, for example, would need a well made costume. His sallet and armor would have to be carefully made. He’s also a walking arsenal, frequently described as having multiple throwing knives, a falchion, crossbows, a knife for combat and beheading and black powder pistols. Rather than a single special or weapon, Brunner comes equipped for almost any situation.

Another concern are horses. While a horse farm would be willing to provide horses for a price, many scenes involve horses being spooker or involved in combat. And there is absolutely no way I’m going to risk the safety of amateur actors around a large, scared animal.

Which brings me to my final concern for the moment. Finding good actors. Brunner has an advantage in that his face is frequently hidden by his helmet. All I’d need is someone capable of portraying a general badass for a few hours, no heavy emotional scenes or points of incredible drama.

I think there’s a part of me that would want to try it myself, but being a main actor/director has always struck me as a somewhat vain pursuit. And besides, for a first effort I think it would be best to try just the directing. And everyone else? Well, it depends on the role and whether or not I can find people skilled enough to fill it.

I think this Halloween, I’ll keep my eye out for particularly talented costume makers. Who knows? It may solve at least one of these issues.

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Just One Scene

Sometimes a movie has just one scene that, entirely on its own, makes the movie worth watching.

It’s rare, but happens. I’m not talking about good acting, but something that’s difficult and executed so well that it awes you. If you’re watching the movie on DVD for the first time, you immediately rewind to see it again. Something amazing, usually cinema-graphically performed. Like the spinning, slow motion camera of in The Matrix.

The scene I have in mind is from the movie Let Me In. It’s a vampire flick that draws from the same vein as the Twilight series. The similarities mercifully end there however. Let Me In was a terrific film with intense drama, great acting, an exceptional story with a few surprises and a phenomenal action sequence that sets it apart from the rest of the horror genre.

The scene involves an escape in a car. The camera is in the back seat, filming how the escape goes horrifically wrong and detailing with surprising clarity the full extent of the auto accident.

I cannot show you the entire scene, but I can show you the first portion of it. The making of the scene is also available.

What makes this scene great? Many things. First, there are no computer generating effects. This makes the scene so much more realistic. CG has made a lot of directors lazy and has detracted from the overall experience. Sure, some things are alright in CG like the space battle scenes of Star Wars: Episode III – Revenge of the Sith. But it’s real easy to let the CG kill the awe, like it did with Hulk. When you add CG to a real life scene, that reflective shine just takes something away. Believability.

Second, once the crash scene starts you get one shot of the entire thing from beginning to end. Scenes like this make it hard to blink because it’s just too easy to miss something. One shot! It’s so easy to break that moment up. But they didn’t.

Third is the fact that the shot occurs inside the car. You’re there with the guy from the rough start to the undesirable conclusion. Anyone who has been in a serious car accident before would probably feel quite uncomfortable by the scene.

If in a dream world, I would ever have the chance to do a Dead Space movie, it’s scenes like this and this (spoiler warning) that I would follow Let Me In‘s example.