UNDER THE MOUNTAIN - behind the movie

Taking Under the Mountain from the page to the big screen was something no one had tried before. Director Jonathan King and Weta Workshop creative project designer Steven Boyle spoke to Hamish Barwick about working with teenagers, monsters and slime.

The old show business saying that you shouldn't work with animals and children hasn't stopped Jonathan King. After working with live sheep on his first film, comedy horror Black Sheep, Jonathan decided to take on Maurice Gee's classic Under the Mountain. The substance of many a kiwi kid's nightmares, it features twin redheaded teenagers battling monsters called the Wilberforces under Auckland's extinct volcanoes.

"The teenagers were definitely easier than live sheep," Jonathan says.

He held an open casting call up and down the country going to schools and agencies.

"[Actors] Sophie [McBride] and Tom [Cameron] who play twins Rachel and Theo emerged quite early and we told them they were on a shortlist. But they were the only ones on the list, we just wanted to see if they could do it."

It was always Jonathan's ambition to make the movie.

"After Black Sheep me and [writer] Matt Grainger said ‘what should we do next?' so we picked up the Under the Mountain option. To us, it seemed like a no brainer that there should be a movie."

But he felt a responsibility that the movie had to be just right.

"We weren't slaves to what was in the book, there were things we allowed ourselves to change to make it work as a cinematic story."

For example, the character of cousin Ricky was changed substantially from the 1979 novel.

"There is a bit in the book where Ricky and his friends turn up with some bongo drums, an acoustic guitar and some fizzy drink. It doesn't run true with modern teens."

Throughout the film shoot Jonathan would refer back to the book and reread how a scene was used.

"We felt strongly that the creatures had to be scary and cool, but also something you hadn't seen before in movies. Weta [Workshop] were a huge part of that and Richard Taylor, who runs Weta, was a huge supporter of the movie."

The film was screened at the Toronto Film Festival earlier this year, though local audiences won't see it until December 10.

"It was great to see it with audiences who had no experience of the book. They jumped in the right places and laughed in the right places too."

The December release date was chosen as he sees it as a summer popcorn movie.

"We're so thrilled that Disney is releasing it here and we would love for New Zealand kids to buy into it."

Jonathan says film making is a craft best learned by hands-on experience.

"The reason to go to film school would be to use the gear and cooperate with the people you meet there to make stuff; it's not something people can teach you. Failing that, people can borrow a video camera and a computer. With YouTube you can get your film seen, so it's an exciting time for people who want to be a film-maker."

On the other hand this also means what film-makers say in their film is more important than ever according to Jonathan.

"You need to have something unique or funny to say. Just doing it isn't enough. There are a bazillion people putting themselves on YouTube."

 Back at Weta Workshop, Steven Boyle's contribution was the creature and make up effects of the frightening Wilberforces. 

"From a technology stand point it was quite traditional. The final creatures were guys in suits but they were very elaborate suits. They had animatronics and small robotics so the tentacles could undulate."

 The creatures in the movie are controlled by five people sneaking behind them with remote controls and cables.

"It was great to do something practical like that. The Wilberforce creatures were wearing prosetics so we glued all these melting prosetics on their faces and put contact lenses in their eyes."

Once initial filming was completed, the digital company worked to enhance the monsters on screen.

"We'd done the makeup and it was sculpted to look like their face was breaking up, so the digital guys would do something to make the face bulge and move around."

The actor who wore the most makeup was TV host and actor Oliver Driver playing Mr Wilberforce.

"We'd glue these silicon prosetics on his face. Silicon is amazing to make appliances out of because it has the weight and translucency of skin. He was completely covered and every time he was on, we would have to go through that process."

Steven also faced the challenge of maintaining the monsters makeup during shooting

"When the actor goes out on set, you have to maintain it as it doesn't look good for long. When people start to sweat it compromises the makeup."

An Australian, Steven hadn't read the book before becoming involved in the movie and was unaware of its classic status in New Zealand. 

"Reading Under The Mountain helped in terms of mood and I got a better understanding of the story. But in the book they're described as slug creatures and Jonathan wanted them to have tentacles."

In creating the creatures Steven also got the chance to work with slime. 

"There's a lot of slime in this movie and one of the reasons it was so important was you have a creature in the dark who's just barely lit, and then you put slime on it and you see all these amazing shapes. The slime is water-based and its non-toxic because we knew it would get everywhere."

He was lured to New Zealand and Weta Workshop after an offer from co-owner Richard Taylor.

"I met Richard in Australia. We got along really well and he asked me if I would come across to New Zealand to work on King Kong. I was here on and off for five years."

Self-taught, Steven advises students to be enthusiastic if they want a career in makeup and effects.

"Make sure you never stop practising. With digital technology you need to understand that you can't just do special makeup effects and have it as a career. You need to be able to learn about the digital side as well, so you have more to offer."

 This is because the industry is now a 50/50 split of traditional makeup and digital effects.

"Even if you only do special effects makeup and don't do the end result digitally, people want to see the concept designs done digitally.  The industry is changing and that traditional place is getting smaller. That's all the more reason to diversify and take on many more challenges."

Under the Mountain opens in cinemas on December 10.