But considering that I walked in expecting no complexity at all, let alone the visual wonderments, 'Snow White and the Huntsman' is a considerable experience.
Sentiment: POSITIVE
I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.
I suppose I do have an interest in stories that show complexity.
And so from that, I've always been fascinated with the idea that complexity can come out of such simplicity.
Wonder knows that while you cannot look at the light, you cannot look at anything else without it. It is not exhausted by childhood, but finds its key there. It is a journey like a walk through the woods over the usual obstacles and around the common distractions while the voice of direction leads, saying, 'This is the way, walk ye in it.'
I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.
I'll spend the rest of my life chasing that feeling I had on 'The Grey,' because I think we're all aware that, first and foremost, we were having an adventure, and we were also making this movie at the same time.
It is very difficult to generalise. Everyone's adventure is original.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff.