[QUOTE="dancinaps"] [QUOTE="madrox1de"]I agree with Darth_Kane...Amovie made about the game but with a changed story would be great. I like the way they changed silent hill around so that it wasn't exactly like the game but had a high relation to it.mfsa
what's this great change that you talk about that i didn't even notice? they only fracking changed the main character (male to female)
They basically took all the symbolic imagery, all the intelligent interpretation, and all the emotion and threw it in the trash.
Most of the brilliance of Silent Hill is that there's a great deal of interpretation - just as an example, those horrible headless monster kids are twisted nightmare versions of Alessa's taunting schoolmates. They made sense in a Silent Hill film, because they were directly relevant to the story.
The straightjacket monster (from Silent Hill 2) symbolised James's wife's illness, James's sense of constriction in caring for her, and perhaps his own waning sanity. Taking them out of SH2 and putting them in a SH1 film made absolutely no sense at all, and that is just one of the more memorable and obvious ways in which Gans and Avery misunderstood, misinterpreted or just decided to ruin the genius of Silent Hill for the brainless.
And instead of teasing out the realisation that most of the film was taking place in Alessa's subconscious through imagery and interpretation, which was by far the best thing about the game, they use some kind of limbo instead which firslty didn't tie into the symbolism the film presents, and secondly was blatantly explained in a tedious exposition at the end. What was the line? Here is your reward?
Is it hard to comprehend that Christophe Gans tried to tackle the mythology of the games rather than creating a wonkdown version of one of the Silent Hill games? there is always a few hardcore SH fan around who enjoy spending more time whining about the script rather than enjoy it for what it is, one of the few great adoptation of any game to movie . I think Gans explained it better in his interview with EGM mag when he said:
when we decided to do Silent Hill, we wanted to do the second game. It was very natural, since that game is the favorite of every fan, and it's the one with the most beautiful world, and it's the most emotional one of all four. Every gamer who finished the game knows what I'm talking about--it's a very tragic and romantic game, and it's a beautiful adaptation of the myth of Orpheus--going to hell to bring back Eurydice. It was not a real Silent Hill, though--the town serves as the background to the story, but it's not really about the mythology. So, when we decided to do the film, we thought that we wanted to do the second one, but we realized that it was impossible to talk about Silent Hill and not talk about why this town is like that. So we realized that we had to adapt the first one. Of course, when I say adapt, I mean to transpose onto the big screen in a different medium, the mythology and atmosphere of Silent Hill. Of course, we were facing the fact that the characters that we love so much were designed for games, and not to be played by real actors. It became readily apparent when we began to write the script and had to deal with the character of Harry Mason.
We realized after two weeks in the writing process that Harry was actually motivated by feminine, almost maternal feelings. To be true to the character, it was very odd and difficult to write for him. He worked fine in the game, but for a real actor, it was too strange. It's not that he's effeminate, but he's acting like a woman. So if we wanted to keep the character, we would have to change other aspects of him'but it seemed like a mockery to keep a guy called Harry Mason and change everything about his character. Essentially, all the people who love Silent Hill are more interested in seeing the mood and atmosphere of the games whether than if a certain character is wearing pants or a dress. Also, when we decided to adapt the characters of Sybil and Dhalia, we found it difficult, mainly because they appear only sparsely in the game. When you have to create a narrative arc for these characters, you have to work really hard. So, the people are going to recognize Silent Hill--the atmosphere, the fog, the dark streets, the creatures, and the mythology--but the characters are now written for the big screen. These are not precisely the characters from the game--they are the same, but written for real actors. And I want to warn everybody, because I know how much we all love these characters, even with so-so dialogue and stuff like that--but we love them. But, I didn't want to do what they did with Resident Evil: Apocalypse when they put Jill Valentine on screen. I mean, that's a perfect example: I love Jill Valentine--in the game, but not on screen. I mean, I'm sorry, but just dressing a girl like her doesn't make her the character. That was a boundary that I had to step over with Silent Hill, it's a very serious game, and it has a unique quality--so we had to treat it with respect. It's a big film, a $50million project with 600 special effect shots, and it ran more than two hours. I guarantee that we have really tried to respect the mythology, because trying to do this film in less than 2 hours would be like cutting everywhere. Yet I still had to make some sacrifices. There is a character that I love named the Red Nurse, and she's in the film briefly, but I'd love to explore more of her character if we one day do the second movie--she's a really beautiful character, and you will see that she's great in the film. I needed to have three hours just to explore the rich mythology. I wrote the film with two other directors, Nicolas Boukhrief and Roger Avery, which was interesting since we're all gamers, directors, and fans of Silent Hill. It was not the usual director-writer exchange; it was more of a gamer-to-gamer sharing of ideas.
Get over it,
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