Interview with Rise of the Guardians director Peter Ramsey

FOLLOWING THE RECENT home video release of DreamWorks Animation’s Rise of the Guardians – in which Santa Claus, the Easter Bunny, the Tooth Fairy, the Sandman, and Jack Frost come together to battle Pitch, aka The Boogeyman – I spoke with the film’s director, Peter Ramsey.

Before joining DreamWorks Animation in 2004, Ramsey amassed an impressive resume as a storyboard artist and illustrator for live action films, including Minority Report, Cast Away, Fight Club, Being John Malkovich, Men in Black, and Backdraft. He was also second unit director on films such as Godzilla, Higher Learning, and Poetic Justice. Ramsey spoke about the impact of Guardians on adults as well as children, the importance of nailing Jack Frost’s character, how he got his start in animation, and what’s next for him and the Guardians.

Congratulations on the home video release of Rise of the Guardians.
Thank you very much.

The film does a tremendous job of stressing the importance of children to believe in the Guardians. Do you feel it gives adults a chance to relive that childhood feeling of believing as well?
If all the people who’ve spoken to me after tons and tons of screenings is any indication, then yeah, I think so. I can’t tell you how many people have come up and said, “You brought me back to my childhood,” “You made me feel like a kid again,” and variations on that idea. I knew going in to this project that dealing with and embracing these characters might have that effect, but I was kind of surprised by how much it actually did.

In a way, the film really focuses on one character’s rise to the level of Guardian: that of Jack Frost. Was his journey always the focus of the film, even in the early development stages?
It took a while from the time Bill [Joyce, author of the Guardians of Childhood books] first brought us the project to get to that point. When I came on, I felt pretty strongly that we needed one character to track through this incredible fantasy world. You need to have an emotionally relatable idea that you can hold on to in the midst of Santa Claus, and the Easter Bunny, and the Tooth Fairy, and all that stuff. If you have one character you can experience it with, who can be the audience’s eyes…that’s really important. Pretty early on, we all felt we should do that through Jack.

Jack is introduced to many aspects of the Guardians’ world at the same time as the audience. Do you see him as a sort of surrogate for the viewer?
Oh, yeah. Very much so. In the beginning of the film, it’s pretty clear he’s not up to the level of these legendary figures. He’s just a normal kid who wants to go out and have fun. He doesn’t want a lot of responsibilities, yet he has questions about his place in the world. All of that makes him a pretty good audience surrogate.

The film also does a great job of establishing a truly challenging villain in Pitch. He really embodies the classic animated villain: He's scary, sinister, condescending, resentful, smart, and even a bit of a sociopath when trying to convince Jack to join him.
Yeah, exactly. In the way that the Guardians each have centers that are positive things, Pitch’s center is fear. We modeled that fear after what kids fear in the real world, how they react to it, and what fear does in terms of limiting or preventing you from living a full, rich life. Kids deal with fear every day of their lives. They know it’s real, they know it exists, and they look for ways to deal with it. To not take the “fear” part of the story as seriously as the “wonder and hope” part felt like a cop-out. A story like this is only as good as its villain. If [the Guardians] don’t have something real to push against, their stature is going to be diminished as well. So we dealt with the theme that while there’s fear in the world, there are also forces out there that are going to help you deal with it if you open up to them.

With Pitch and Jack Frost, they’re literally the black and white of the situation – the dark and light sides of the same personality.
Yes, that was another important point for me. We have Jack Frost, who has these powers and can do amazing things, but he doesn’t have a context or a real picture of who he is. He’s ultimately shown that he has a choice: You come into the world, you have things to offer, but it’s up to you which path you’re going to take. So we dramatized that between Jack and Pitch to demonstrate that, once upon a time, had Pitch done things differently, he could have accomplished what Jack does. We tried to keep the story clear yet entertaining, but there’s a lot of stuff working underneath in the same way that the old fairy tales do.

You started out working on live action films, then moved to animation with Shark Tale in 2004. What prompted that transition?
Actually, the film [where I started in animation] was Shrek the Third. I only worked a little bit on Shark Tale, maybe a week, while I worked on Shrek the Third for about a year. What happened was, in my live-action days, I worked with a producer named Aron Warner on a movie called Tank Girl. He went on to produce the Shrek films. Several years [after Tank Girl], he called me and asked if I’d be interested in animation. He said I should check out [DreamWorks], that they could use a guy with live-action experience. So I checked it out, I liked what I saw, and I starting learning the craft of animation. It was the beginning of the journey that got me in the director’s seat for Guardians.

Rise of the Guardians was your first time directing a feature film for a major animation studio. So, no pressure, right?
[laughs] Yeah, right [sarcastically].

Prior to directing, you worked on dozens of films as a storyboard artist and illustrator. How far were you able to immerse yourself in the storyboarding for Rise of the Guardians while still dedicating yourself to the responsibilities as director?
Not as much as I would have liked, but I had a pretty good dose of it early on when we first began digging into the story. It was a very small story team. I did some of the initial storyboarding just to get the ideas rolling and the feel of the film. For the first four or five months, it was just me and Hamish Grieve, who’s head of the story department [at DreamWorks Animation]. But later on, there were spots where I would come back in, board something myself, and take it to the layout team and the animators. I definitely jumped in wherever I could.

My family watched Rise of the Guardians together for the first time last week, We all enjoyed it immensely, then my nine-year-old son ran off with it and immediately watched it two more times.
Oh, wow. That’s great! That’s so cool.

So when I asked him if he’d like to ask you a question, he instantly blurted out, “Will there be a sequel?”
[laughs] We all want one. We’ll have to wait and see what the moon says.

In the meantime, what’s next for you?
I’m trying to figure that out. I’ve got a couple of projects I’m thinking about, but it’s all in the very early stages. We only finished Guardians at the end of October, then it was three straight months of press, publicity, and awards season. It’s only been within the past month that I’ve been able to actually stop working on it. I’m talking to a bunch of different people. Nothing firm or definite yet, but that’s kind of nice.

Thanks for taking time to speak with me today.
Thank you. I’m so happy your son enjoyed the film. Tell him from me.

Rise of the Guardians (2012)

What is your center?

That’s the question posed by the imaginative and inspiring Rise of the Guardians, where Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Rango’s Isla Fisher), and the Sandman try to recruit the reluctant, wayward Jack Frost (Chris Pine) to join them in the fight against Pitch Black (Jude Law), a malicious spirit determined to take over the world and destroy the innocent beliefs and dreams of children.

Granted, the idea of Santa Claus as a Russian émigré with tattooed forearms, or a six-foot Easter Bunny who wields boomerangs and an Aussie accent, is an acquired taste. But director Peter Ramsey soon puts those concerns to rest by giving us deep, fleshed-out characters to believe in without having to delve into their origins.

Our guide to this world is the apprehensive Jack Frost, as we follow his quest and internal struggle to determine if he has what it takes to become a Guardian – in other words, to stop making mischief and recognize his true calling.

What’s at stake here, as Pitch is quite aware, is that if kids don’t believe in the Guardians, they will cease to exist. With the help of a young boy named Jamie (Dakota Goyo) as their unwavering believer, our heroes attempt to prove that even the scariest of boogeymen is no match for the bravery and beliefs of children.

The film features enthralling, breathtaking animation in which Ramsey and his team take full advantage of the 3D without going overboard or making it seem like a retro-fit. The battles between the Guardians and Pitch’s army of nightmare creatures are truly amazing, including a show-stopping finale involving more characters than you can shake a freezing staff at.

With Rise of the Guardians, it’s another crowning achievement for DreamWorks Animation (How to Train Your Dragon, Kung Fu Panda 2) as they pull even further ahead of Pixar and its recent lackluster offerings (Cars 2, Brave).

If you didn’t experience Rise of the Guardians in theaters, here’s your chance to see what an amazing film you missed. Your kids will believe. And so will you.

Rating:

What did FilmBoy think?

He had high hopes going in to Rise of the Guardians. His verdict? “It was even better than I thought it would be.” In fact, after our whole family watched it, he ran off with the disc and immediately watched it two more times. Can you say “ringing endorsement?”

Is it suitable for your kids?

Rise of the Guardians is rated PG for “thematic elements and some mildly scary action.” The idea of Pitch turning kids’ dreams into nightmares may be scary for very young children. Pitch kidnaps Tooth’s fairies and later threatens to crush one of them in his hand. Santa wields two large swords when doling battle with Pitch’s army. One of the Guardians appears to be destroyed by Pitch. Jack’s actions inadvertently cancel Easter. Jack’s backstory (shown in flashback) involves him drowning after falling through the ice on a lake while rescuing his little sister. The Tooth Fairy (ironically and comically) knocks out one of Pitch’s teeth. There’s no inappropriate language, aside from the Easter Bunny’s occasional use of the Aussie adjective “bloody” and Pitch tells the Easter Bunny to “go suck an egg.”

Will your FilmMother want to watch it?

Yes. Rise of the Guardians is full of tremendous storytelling, amazing animation, and the theme of keeping children’s beliefs alive. Make it essential viewing for Family Movie Night.


Rise of the Guardians
* Director: Peter Ramsey
* Screenwriter: David Lindsay-Abaire
* Stars: Chris Pine, Alec Baldwin, Jude Law, Isla Fisher, Hugh Jackman, Dakota Goyo
* MPAA Rating: PG


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Gummibar: The Yummy Gummy Search for Santa (2012)

APPARENTLY I’M NOT HIP to what’s, uh, hip in the world of online videos.

Turns out there’s this dancing fella from Germany called Gummibar, who’s racked up tens of millions of hits on YouTube with his infectious series of techno, Autotuned dance songs like this:

After dozens of videos with song topics ranging from soccer to love to bubble baths, Gummibar’s next step was obvious: his own Christmas movie.

In Gummibar: The Yummy Gummy Search for Santa, after Santa is kidnapped by Allen the alien, Gummy and his friends – Harry the chameleon, Vampiro the bat, and Calla the cat – jump into action to rescue him to keep Christmas on schedule. (They take the group’s jet plane, because of course they have one.)

 

Look, anyone who willingly watches this movie isn’t looking for high art. Taking that into consideration, Gummibar: The Yummy Gummy Search for Santa is a harmless, entertaining way to pass an hour with your kids if you’re snowed in or they’re warming up from playing outside. It has good-enough animation (Harry the chameleon’s independent eye movements are a nice touch) and eye-rolling punchlines your kids will eat up. It also has a sense of self-awareness (someone calls Gummy a “famous dancing green confectionary from the Internet”) and passing references to Die Hard 2, The Wizard of Oz, Jerry Maguire, Chinatown, Titanic, and Top Gun.

Gummibar: TYGSS also features several musical numbers (yes, Gummy does his signature tune), including songs as part of a dance-off between Gummy and Allen for possession of Santa – though someone should have told directors Jurgen Korduletsch and Bernie Denk that when it comes to Gummy’s song “Nuki Nuki” (German for “pacifier”), the term “nookie” means something entirely different in America. Lyrics like “How I love my nuki” and “My nuki never leaves my mouth” take on a whole new unintended meaning…

At times it may feel like a glorified TV special, but Gummibar: The Yummy Gummy Search for Santa is passable fun for your family Christmas viewing – though it may take a team of specialists to remove the green guy’s songs from your head.

Rating:

What did FilmBoy and Jack-Jack think?

FilmBoy liked Gummibar: The Yummy Gummy Search for Santa, but it was Jack-Jack who loved it. He laughed out loud at many jokes, and could barely stay in his seat during much of the action.

Is it suitable for your kids?

Gummibar: The Yummy Gummy Search for Santa is unrated, but features some mild rude humor: Santa lets out a quick fart squeezing into a chimney, says “my butt hurts” after landing on his rear, then shows a little “plumber’s crack” while bending over to pick up presents. In other areas: Alan the alien does kidnap Santa, but it’s never shown as malevolent; Calla gives Vampiro a quick kiss under a mistletoe.

Will your FilmMother want to watch it?

Depending on her mindset going in, she’ll most likely feel that Gummibar: The Yummy Gummy Search for Santa is either very disposable or somewhat annoying. She could probably find better ways to spend her time…and worse ones, to be fair.

Hey family, Santa here.
Y'know, there's this service called a chimney sweep?!

Gummibar: The Yummy Gummy Search for Santa
* Directors: Jurgen Korduletsch, Bernie Denk
* Screenwriters: Jurgen Korduletsch, Bernie Denk
* Stars: Sonja Ball, Rick Jones, Bruce Dinsmore, Mike Paterson
* MPAA Rating: N/A


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Elf-Man (2012)

PICTURE THIS: an independent, family-friendly holiday movie from the creators of horror films such as House, Scarecrows, and Children of the Corn V – and featuring one of the stars of MTV’s Jackass?

Elf-Man tells the story of the Harper family – scientist dad Eric (The Facts of Life’s Mackenzie Astin), son Ryan (Blake Kaiser), daughter Kasey (Carly Robell), and visiting Gramma (Marty Terry) – who are about to celebrate their first Christmas without their mom, who recently died. After dad invents a powerful energy-conserving device on Christmas Eve, he steps out to run an errand and is abducted by a trio of bumbling kidnappers, led by Jeffrey Combs (of the ‘80s horror classic Re-Animator), who want Dad’s new invention for themselves.

Meanwhile, as Gramma puts the kids to bed, Santa and his sleigh arrive on the rooftop, accompanied by a pair of elves. To make Kasey’s Christmas wish for a happy family come true, he leaves behind one of his elves (Jason “Wee Man” Acuña) to help find Dad. Will the elf lose faith in himself, or will he find his true powers to become a real superhero?

Despite backgrounds in horror, Elf-Man director Ethan Wiley and co-writer Richard Jeffries do a commendable job of creating a balance in tone for kids and adults. They also successfully capture the idyllic setting of Christmas in a small town (Jeffries’ hometown of Frederick, MD), enhanced by the heartwarming score by Joseph Bauer.

That’s not to say Elf-Man is all warm and fuzzies. There’s plenty of action and hijinks to keep the film moving, including the antics of the kids, the elf, and the trio of goofy kidnappers – resulting in laugh-out-loud moments such as a funny homage to The Good, The Bad, and The Ugly and a running joke of people mistaking the elf for a troll, a hobbit, a leprechaun, and an Oompa-Loompa.

After the elf lets the kids down by not bringing their dad home, he get a firm talking-to by Dad’s female companion Amy (Mirrely Taylor) as she hands him a superhero suit made by the kids. He then transforms into Elf-Man (play along), pushing his elfin magic to the limit to stop the bad guys, bring back Dad’s invention, and create the happy family Christmas that Kasey asked for in her wish.

Some leaps in logic and continuity in Elf-Man may frustrate grown-ups, but kids won’t care or notice. And the acting range of Acuña and the kids is a bit limited compared to the experienced cast. But Elf-Man is fun family viewing and a nice detour from (or addition to?) the standard Christmas favorites we watch every year.

Rating:

What did FilmBoy and Jack-Jack think?

They both really enjoyed Elf-Man, laughing often at the stupidity of the kidnappers and rooting against them. Though when Dad and Amy share a mistletoe kiss, FilmBoy deadpanned, “I hate this movie.”

 

Is it suitable for your kids?

Elf-Man is not rated, but was given the “Family Approved” seal by The Dove Foundation.
Mild Rude Humor: Elf-Man handles a “pooper scooper” for Santa’s reindeer; one of the reindeer farts. Elf-Man belches loudly in the film’s finale.
Violence/Scariness: Dad is held captive by the three kidnappers; they tie him up and put duct tape over his mouth. Kasey cries in bed about her deceased mom, which may be upsetting to some younger children.
Language: Mild name-calling, such as “idiot” and pea-brain.”
Adult Situations: Dad and Amy share a romantic kiss.
Drugs/Alcohol: A man at a bar appears a bit inebriated.

Will your FilmMother want to watch it?

Elf-Man can be fun holiday viewing for the whole family, FilmMother included…though I don’t know how she’ll feel about yet another family film featuring a dead mom (i.e. Finding Nemo, Bambi, Cloudy with a Chance of Meatballs).

Hold still…I’m just gonna take a little off the top…

Elf-Man
* Director: Ethan Wiley
* Screenwriters: Richard Jefferies, Ethan Wiley
* Stars: Blake Kaiser, Carly Robell, Jason “Wee Man” Acuña, Jeffrey Combs, Mackenzie Astin, Mirelly Taylor
* MPAA Rating: N/A


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Santa Claus Conquers the Martians (1964)

IT’S OFFICIAL: I have a new favorite bad movie.

I had heard about Santa Claus Conquers the Martians over the years, but it wasn’t until I watched it last week with Dash that I truly realized what I was missing.

Plot:

Martian leader Kimar (Leonard Hicks) is upset his children spend so much time watching TV shows from Earth singing the praises of Santa Claus (John Call), so he leads a group of Martians to Earth to kidnap Santa and take him to Mars. In their travels, they abduct two children who lead the aliens to Santa, whom they kidnap as well. Will Santa and his two little Earthling friends be stuck on Mars forever? Will it be a year without a Santa Claus? (Oh wait, that’s another story.)

Critique:

It’s hard to believe the same year that gave us Rudolph The Red-Nosed Reindeer also gave us Santa Claus Conquers the Martians. It’s an exceptionally poor film in many – check that, all – respects, but one that provides unintentional laughs and even an odd sense of warmth in its desire to please.

Regarding the title: “Conquers” is a bit of an overstatement – frankly, Santa doesn’t do jack in terms of overthrowing the Martians (and he’s pretty blasé after Kimar tells him he won’t be returning to Earth). The conquering lies more in the hands of Billy (Victor Siles) and Betty (Donna Conforti), the kids the Martians abduct while searching Earth for Santa.

There’s not enough room to list all the things wrong with Santa Claus Conquers the Martians, but here’s a sample of some of the biggies:

• The pitiful lighting: Were the filmmakers just cheap, or were they deliberately trying to conceal the flimsiness of the sets?
• The cornball dialogue by everyone involved, such as a news announcer declaring, “Mrs. Claus has positively identified the kidnappers as Martians” and Billy telling the leader, “You’ll never get a way with this, you…you…Martian!”
• When the Martian’s ship is spotted in the sky by the US military, we’re treated to extended stock footage of military command centers and Air Force pilots jumping into fighter planes (the same footage was used at the beginning of Dr. Strangelove – also released in 1964!)
• A “polar bear” that chases Billy and Betty at the North Pole is obviously a man in a polar bear suit, to the point that he stands upright and casually walks out of frame as the scene ends
• There are actually typos in the movie: One in the opening credits (“Custume Designer”) and another in a newspaper headline (see right)
• The please-make-it-stop theme song, “Hooray for Santy Claus,” is played over the opening and closing credits and sung by then-child-actor Pia Zadora, who also plays one of the Martian children (her first movie role) 

While some films claim to be the worst movie ever made, Santa Claus Conquers the Martians truly delivers the goods in terms of sheer awfulness. And though it may be a lump of coal in the stocking of cinema, it provides plenty of opportunities to laugh at its ineptitude, especially when viewed in a group environment. (In that sense, I’m shocked it hasn’t gained a stronger cult following during the holidays.)

By watching Santa Claus Conquers the Martians last week with Dash, and showing him how to enjoy a truly bad movie, Christmas did indeed come early this year.

Tidbits:
* Santa Claus Conquers the Martians was shot on Long Island, New York, mostly with Broadway actors who never appeared in films again.
* “Hooray for Santy Claus” was written by Milton DeLugg, who went on to become the leader of the house band for TV’s The Gong Show in the late 1970s. (He was composing music for the game show What’s My Line? during filming of Santa Claus Conquers the Martians.)
* Producer Joseph E. Levine also produced another holiday-themed kids’ film in the ‘60s: 1967’s Mad Monster Party.

Rating:

What did Dash think?

Initially, it took some egging for him to put up with Santa Claus Conquers the Martians, but once he saw me laughing at the bad special effects and adding my own lines to the cheesy dialogue, he joined in the fun and we made a sport of it. More than once, the told me with a smile that “this is probably the worst movie ever made.”

Is it suitable for your kids?

Santa Claus Conquers the Martians is essentially harmless, but there a couple of scenes that wee ones (read: toddlers) might find frightening: a Martian commands a six-foot-tall robot to crush Billy and Betty with his arms, and the “polar bear” chases the kids into a cave at the North Pole. There’s also some Martian-on-Martian fisticuffs (can’t they all just get along?).

Will your FilmMother want to watch it?

If she enjoys so-bad-it’s-good movies, she’s in for a treat with Santa Claus Conquers the Martians. Here’s a chance to make it a new holiday tradition for your family.

“Now, fat man, you’ll witness the firepower of this fully operational soundstage!”

(You’re welcome, fellow nerds…and Merry Christmas.)

Santa Claus Conquers the Martians
* Director: Nicholas Webster
* Screenwriter: Glenville Mareth
* Stars: John Call, Leonard Hicks, Vincent Beck, Bill McCutcheon, Victor Stiles, Donna Conforti, Chris Month, Pia Zadora
* MPAA Rating: N/A


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