The only issue is whether we ified problems. It also helps people to break out of can afford the time and resources to move from the old ways of thinking and to consider intractable prob- knowable to the known; in general, we cannot and lems in new ways. The framework is particularly use- instead rely on expert opinion, which in turn creates ful in collective sense-making, in that it is designed a key dependency on trust between expert advisor to allow shared understandings to emerge through and decision maker.
This is the domain of systems the multiple discourses of the decision-making group. This is the domain of often presented in a two-by-two matrix for exam- methodology, which seeks to identify cause-effect ples, pick up any management textbook or analyst relationships through the study of properties which report. Typically, it is clear though often unstated appear to be associated with qualities. For systems that the most desirable situation is to be found in in which the patterns are relatively stable, this is both the upper right-hand quadrant, so the real value of legitimate and desirable.
In contrast, none of the domains we will Our decision model here is to sense incoming data, describe here is more desirable than any other; there analyze that data, and then respond in accordance are no implied value axes. Instead, the framework with expert advice or interpretation of that analysis. This is in order to come to a consensus for decision-mak- the domain in which entrained patterns are at their ing under uncertainty. Narrative techniques are late and may not be seen. We have de- scribed elsewhere a range of methods designed to It is important to note here that by known and know- stimulate emergent patterns in complex knowledge able we do not refer to the knowledge of individ- interactions by increasing the number of perspec- uals.
Rather, we refer to things that are known to tives available to a decision maker. If I look up my orga- Un-ordered domain: Chaos. In the chaotic do- I know I can find something, because I know it is main there are no such perceivable relations, and known to the organization. If I want to know how the system is turbulent; we do not have the response fish sleep, I may not know how or where to find out, time to investigate change.
This is to emerge is a waste of time. The chaotic domain is the domain of complexity theory, which studies how in a very real sense uncanny, in that there is a po- patterns emerge through the interaction of many tential for order but few can see it— or if they can, agents. There are cause and effect relationships be- they rarely do unless they have the courage to act. Emergent patterns can be per- meaning not only shrewd but safe.
But in chaotic ceived but not predicted; we call this phenomenon space, a canny ability gets you nowhere there is no retrospective coherence. In this space, structured system to be worked. You need a different type of methods that seize upon such retrospectively coher- ability, one that is uncannily mysterious, sometimes ent patterns and codify them into procedures will even to its owner. Canny people tend to succeed in confront only new and different patterns for which their own lifetimes; uncanny people tend to be rec- they are ill prepared.
Once a pattern has stabilized, ognized and appreciated only centuries later, because its path appears logical, but it is only one of many during their time their actions appeared to be either that could have stabilized, each of which also would insane or pointless. Each of these styles has a unique have appeared logical in retrospect. Patterns may in- ability to succeed in a particular space, and each is deed repeat for a time in this space, but we cannot necessary.
Thus, relying on expert opin- to sense immediately the reaction to that interven- ions based on historically stable patterns of mean- tion so that we can respond accordingly. The trajec- ing will insufficiently prepare us to recognize and act tory of our intervention will differ according to the upon unexpected patterns.
We may use an authoritarian intervention to control the space and make it know- The decision model in this space is to create probes able or known; or we may need to focus on multiple to make the patterns or potential patterns more vis- interventions to create new patterns and thereby ible before we take any action. We can then sense move the situation into the complex space. Chaos those patterns and respond by stabilizing those pat- is also a space we can enter into consciously, to open terns that we find desirable, by destabilizing those up new possibilities and to create the conditions for we do not want, and by seeding the space so that pat- innovation.
Under- standing this space requires us to gain multiple per- The domain of disorder. The central domain of dis- spectives on the nature of the system. The framework actually has two large domains, each with two smaller domains inside. We are currently engaged in further con- ceptual and experimental work to more strongly de- velop the separation of ontological from epistemo- logical aspects of the framework in order to root the ences near the center of the space.
As a result, in- framework in a variety of scientific disciplines while dividuals compete to interpret the central space on maintaining the essential interweaving of ontology the basis of their preference for action.
Those most and epistemology, which appears to be an essential comfortable with stable order seek to create or en- aspect of human sense-making in practice. The stronger the im- the types of component connections that are most portance of the issue, the more people seem to pull prevalent in each domain Figure 2.
On the side of it towards the domain where they feel most empow- order, connections between a central director and ered by their individual capabilities and perspectives. On the side of un-order, central con- toward the achievement of consensus as to the na- nections are weak, and attempts at control through ture of the situation and the most appropriate re- structure often fail from lack of grasp or visibility.
The known and chaotic domains share the not known, knowable, somewhat knowable and un- characteristic that connections among constituent knowable? The form on their own. These provide a rich context that allows freedom and renewal afforded by weak connections patterns of experience rather than opinion or belief without allowing them to permanently remove use- to emerge. We use an array of different methods to help people How the Cynefin framework is used prepare a contextually meaningful field of items for sense-making, including: In our engagements with clients, we use the Cynefin framework at several different levels, depending on Narrative database.
We might prepare in advance a the context and purpose of the project. Several com- narrative database of relevant stories surrounding plementary exercises and programs help people to the issue, drawn from oral histories, collected an- internalize and make use of the framework.
Some ecdotes, published reports, historical documents, and groups consider only the five domains and what sorts the like. In the first part of cal conditions within domains; some consider mul- the workshop, we may ask people to talk about their tiple perspectives and how they can be resolved or thoughts on the material and the narratives which used to advantage; some talk about boundary tran- they found most compelling.
From these discussions sitions, boundary sensing, and boundary manage- a list of such items as situations, actors, events, and ment; some talk about dynamics ranging over the forces might be generated. For example, groups might use the Cynefin framework to gain new insights Convergence methods. Rather than pulling items di- on a contentious issue, plan interventions to move rectly from anecdotes discussed, we might go through a situation from one domain to another, consider one of several convergence methods in order to in- how they should approach or manage different for- tegrate much disparate material and achieve a stron- mal and informal communities, or differentiate their ger set of sense-making items.
For example, we might strategies for knowledge retention based on multi- ask people to construct composite fables from an- ple contexts of knowledge exchange.
This is a critical exercise that en- own experiences as source material. Contextual- is especially useful when we need to bring people ization is also a good example of how the Cynefin into the realm of fiction so that they can more freely framework concentrates on collective sense-making express their true opinions on sensitive subjects. It as a consequence of discourse. We will describe a is also a useful integrator of diverse sources.
In a typical contextualization session here. The session room of 50 people constructing fables in small begins with the collection of many items through groups, several hundred anecdotes may be consid- structured brainstorming.
The items are related to one theme or Alternative history. Another useful method with or issue of concern, which should be broad but not in- without preparatory material is the use of alterna- finitely so. Whatever sorts of items are chosen and tive histories. In this method, we ask people to de- multiple types are permissible , they should be di- scribe the history of an organization, society, or event, verse and concrete in nature: diverse to allow mul- always working backwards from the present to any tiple perspectives to emerge, and concrete to move starting time they think is appropriate.
We ask them away from existing entrained abstract beliefs. We as- to determine turning points moments when small sure diversity by giving different groups of people events caused large changes , write them simply on different directions, by giving directions that are de- hexagonal sticky notes, and array them on a wall.
We liberately ambiguous and so can be taken in diverse prefer hexagonal notes because people tend to clus- ways, and by changing group compositions frequently ter them in beehive shapes, while people tend to cat- so that people do not fall into entrained thinking. It can also be used to negotiate meaning between contexts, but that use is beyond the scope of this paper.
A B After the extreme situations are considered, all of the sense-making items are placed within the over- all Cynefin space—without boundaries—where the items seem to fall, using dynamic placement. We sometimes ask people to think of it as though the item they are placing has four elastic bands connect- ing it to the four corners, and to find the place where it comes to rest depending on how hard the differ- C D ent bands pull on the item. We then ask them to check the placing of each item in relation to others.
Clusters are allowed to form where items seem sim- ilar in the space, but are not required. This is often done in person using large walls and hexagonal sticky notes; it can be done electronically, but must be done socially. It is important to mention at this point that discus- sion is encouraged during the placement of items.
This is unlike the methods of affinity diagrams, in which people are asked to refrain from speaking. These con- ized by silence: often people just watch very care- nection points are not determined in advance, but fully what the boss is doing.
In a sense this only drives emerge from the growing reverse fiction. The turn- power differences underground rather than remov- ing points may then be considered and described, ing them.
We find it is better to remove large power listing, for example, actors, communities, and fac- differences before contextualization; in fact, we have tors in play during those moments. These become found that comparing the patterns made by people the sense-making items.
An- gether with their assembled sense-making items, per- other significant element of the placement of items haps derived from multiple processes, and discusses is that, as in the group construction of affinity dia- the extremes not the domains of the Cynefin space. If pos- 3B, lines are drawn between hexagons that are clearly sible, items are selected from the set that exemplify in one domain or another, leaving a possibly large that dynamical extreme in the context of the issue central area of disorder.
Then, as shown in Figures or events being considered. Hexagons that lie on the new lines are bifur- work is created anew each time it is used, with dis- cated, trifurcated or quartered, forming new clus- tinctions meaningful to the current context.
To some ters of hexagons on either side of the boundaries. After the and potentials. This new language is unique to the con- We should point out here that though we draw the cerns of the group and abstract enough to cover many framework as four simple areas in two-dimensional particulars, but resonant with meaning so that it tends space because it is quick to draw and grasp , this to be brought up spontaneously when issues are dis- is only a quick reference for discourse, and that sim- cussed.
It can be used to talk about interpretations ple drawing expands into something more multidi- of current conditions based on gathered data, to eval- mensional in use. For example, we might ask people uate strategic interventions, and to constructively to consider different aspects of or perspectives on manage conflict and bring about consensus, without a single situation that might be located in different removing conflict. Also, multiple groups who have areas or moving in different directions.
In this sense, created their own contextualized frameworks can use all sense-making exercises transcend the simple rep- them as artifacts for negotiation of common mean- resentation of the framework at some point.
We con- ing. We have been helping groups to grated or separated at will; but the ultimate re- use such frameworks to guide discussion among dif- ality is that every representation including the ferent government branches, for example. We previously contrasted Cynefin as a sense-mak- The value of the completed contextualized frame- ing framework with categorization frameworks.
We work lies in two main benefits. First, nearly every con- do sometimes use the contextualized Cynefin frame- textualization exercise we have seen has ended with work for categorization within a particular context, expressions of surprise from those participating.
Categorization in context has some excellent turn their entrained beliefs about the issue they are uses: for example, for training in standard operat- considering and about their purpose, goals, and iden- ing procedures, for aligning perspectives and objec- tity. For example, one group completed their Cyne- tives among groups for example, strategic and op- fin framework and reviewed it. They had done al- erational , or for initiation of new people into the ternative histories to derive their sense-making items, group.
On their Cynefin Wider implications framework, the only items in the chaos domain were those color-coded accidents.
As part of the when they had been forced to add accidents to the work we are doing for public-sector and private-sec- list. The shallow river can be crossed by anyone at any work as a sense-making mechanism in tandem with place, and thus control over crossing is difficult to massive narrative databases of world history and con- achieve.
Most of the important events of our lives strategic levels in government and industry. Ritual years, those having more specifically to do with the tends to be strongly associated with this type of use of narrative to enable multi-perspective under- boundary. An organizational example might be the standing in the complex domain, are also heavily in- transition from a new employee to someone who volved in this work, but we do not have the space knows the inside stories of the organization.
Main- taining shallow-river boundaries is most useful when you want to encourage as much diverse exchange over the boundary as possible, but still retain the ca- pacity to monitor and intervene. Boundaries are possibly the most important elements, 2. The deep chasm can be crossed only at bridges, in sense-making, because they which can be built, demolished, and controlled at will.
The trickster Anansi, originally a West African spider-god, features in these tales. He is the spirit of rebellion who is able to overturn the social order; he can marry the Kings' daughter, create wealth out of thin air; baffle the Devil and cheat Death.
Even if Anansi loses in one story, you know that he will overcome in the next. The author did extensive research in the folklore of Hawaii and Jamaica, and was the first person to hold a chair in Folklore at any college or university in the United States. Theyve been stabbed, shot, rendered comatose, left soulless and damned to perdition.
The end of Season Nine saw Dean as a demon and Sam searching for his missing brother. To its stars, however, the show has been very kind indeed. We know the show enough and our characters enough that if there is an end coming, I think well all see it, says Padalecki. But for me, Ive been able to do a lot doing this show. Ive got some kids now and a wife, and I love my personal life very, very much.
When its time to hang up the Sam Winchester hat, Ill welcome that chapter. Thats not to say Padalecki wouldnt be sorry to see the end of Supernatural. Theyve hunted ghoulies and ghosties in lakes, forests and mountain ranges right the way across the country, but Vancouver, Canada, stands in for most of it.
When its a show about hunting vampires or demons or something, its much scarier and more thrilling for the audience for us to hunt them in the doom and gloom than if we were walking down the beach with a bunch of palm trees and were like,Do you see anything scary?
We could be riding the little pedibikes going, like,Do you see anything, Dean? Getting suntans and stuff. And the cool temperature there affords us to wear coats throughout the season, which then affords us to hide all our weapons in them, says Ackles.
I think if we were shooting in, say, Atlanta, we would be a sweaty mess for about half a season. This sounds like a cop-out, but I feel like Id be doing a disservice to try and put into words what Ive learnt from Jensen, he says. We literally have more than grown up together. We went from single somethings to fathers and husbands, and its hard to kind of quantify with a few short sentences exactly what all that encompasses.
Unsurprisingly, Ackles reciprocates. Ive learnt a lot from Jared, he says. He is a brother on and off screen, and well forever have a friendship that is a lot different from most, because its really truly unique because of what weve gone through together, and its been quite an amazing ride.
Im glad were still trekking along. Like a lot of long-running shows, a family has formed on set over time, made up of a collection of close-knit actors, writers and crew.
The people involved in the production process may be what have made Supernatural such a cult success. Their dedication to the. What impresses me the most about not just [Ackles and Padalecki], but the rest of the cast and the crew and the writers, is that they remain the hardestworking bunch Ive ever had the pleasure of working with, says Carver. I hate to be all military on it, but theres no quitting anybody and that starts with the stories and continues on to the execution.
Theres so much story left to tell, which is sort of remarkable to think about, given that were in Season Ten already. The infectious enthusiasm is passed on to viewers, spawning one of the most dedicated fanbases of any modern genre show. From it, a cornucopia of fan art, ction, songs, videos and more have been created in tribute to Supernatural. Just when you think we are able to identify our fans, Ill have a year-old TSA gentleman check my passport,.
All Hell Breaks Loose P1 2. In The Beginning 4. Seen every episode with my granddaughter, says Ackles. Since the show started in , weve seen the brothers go from reckless boys who act rst and think later to men who, though still reckless, are more aware of the consequences of their actions and the sacrices theyve made. The family business used to be Sam and Deans idea of fun, but people including themselves have been hurt, killed or worse, and are past feeling the burn that comes with the job.
As with Sam and Dean, fans of the show have also done a lot of growing up since it started. We dont ght vengeful spirits and make deals with Crossroad Demons, but Padalecki still nds the symmetry fascinating. We meet dozens of teen-somethings and early somethings who have been watching the show since they were in school, and now theyre college graduates, getting driving licences or having kids, as we have, he says.
Its remarkable. Its a great feeling, and its such an honour to be part of it. Jensen and I look at each other now and again, and were like, Man, are people going to keep watching the show? Are they going to stick with us? And we realise that not only are people who have been with us from the beginning continuing to watch, but were gaining a whole new rite of passage for and year-olds, girls and boys, which is awesome. Its not the classic coming-of-age story, but it is about struggling with seemingly insurmountable obstacles, which helps out a lot of teensomethings who feel like high school is the worst or this person is the worst.
This is obviously a very different world, but its nice to be able to be there for a teenager, and you feel like the world is against you. These boys literally have the world against them, but they keep ghting. I think its a great message. Without an end in sight, literally anything can happen. Its difcult to tell what Season Ten has in store for the boys, but we can be sure of one thing at least: its going to hurt like a bitch.
It currently has no broadcaster in the UK. You will actually be charged 65 sterling for an annual subscription. Your subscription will start with the next available issue. This offer expires 31 January To order securely online, visit the website below and enter the offer code: USA. Teenage Mutant Ninja Turtles, the online fan community cracked its collective knuckles and limbered up to indulge in some good oldfashioned bashing.
We have to imagine that director Jonathan Liebesman is breathing a sigh of relief. Yeah, denitely an awesome result, he chuckles. Ive had not awesome results, so this is great. So how did it all go right? CO HOP. UK CO. Denitely, he tells us. When I was a kid growing up in South Africa, [the cartoon] was my exposure to the Ninja Turtles the cartoon and the rst two movies were what I loved the most.
Then it was amazing when I came onto the movie and [co-creator] Kevin Eastman was camped out in the producers ofce, and that was when I was introduced to the original comic-books. I was so impressed by how hardcore the Ninja Turtles were when they were rst introduced in the. When we press him on what exactly it was that he couldnt stand to lose, Liebesman is quite happy to reel off a list. I absolutely wanted to see how the Turtles became Mutant Ninja Turtles, and I wanted to make sure we had cowabungas and pizza which sounds funny, but lots of obvious things get lost in the room sometimes, so that was what was important to me; those touchstones that I fell in love with a kid.
The franchise has always changed with the times, but the challenge was nding a way to keep the magic without losing what makes the Turtles Turtles. Ninja Turtles has an incredibly passionate fanbase, and Im a fan myself, Liebesman explains.
Mike [Bay] had this vision, which I think is correct a vision of making the Turtles look different, because you have to update them to make them realistic, because you wont believe that they exist in this same world as your actors. A big part of this was making sure that each turtle had their own personality and distinct look. That was something Mike had learned from Transformers, Liebesman remembers.
He wanted mums to be able to tell them apart. And I think what we also wanted to do was bring a whole new audience to Ninja Turtles, because you need the lm to make its money back. The good thing about being able to do big-budget movies is you have amazing technology to make things you could never see before. The downside is you need those movies to make their money back, and so you do need to attract new fans, so we tried to create designs that maintained the characteristics that myself and other fans had fallen in love with from when I was a kid watching the cartoons, and designs that would look realistic when rendered in the movie.
Tohoru Masamune tells SciFiNow about playing the Turtles nemesis Few cartoon villains have been seared into the consciousness as Shredder. The vengeful, furious and deadly gang leader and his never-ending quest to put an end to our four heroes was going to be a key part of any Turtles movie.
So when it came to playing the character, Tohoru Masamune tells us it was pretty intimidating. Heres the interesting thing about getting into a really established franchise like this, and obviously a very iconic villain, he begins. Its tricky, because you have to enter any role without any preconceived notions, but on the other hand there are expectations.
I almost feel like there were times I had so much trouble wrapping my head around it, I almost felt like a kid pretending I was Shredder! I almost had to go to that place: Ill be Shredder! The issue of who was going to play Shredder was one of the mysteries of the production; it was assumed that William Fichtner would, and Masamune tells us that he wasnt told who he would be playing until he got the part.
However, he says that lming went relatively smoothly. Certain things were evolving, and I was just going. It was a smooth process once you get in there.
It was pretty intense, there was a lot going on, clearly there were a lot of balls in the air, and things were changing Everything that was shot I had to learn in both English and Japanese. Its hard enough learning your lines in one language! You just have to trust that things are going to come together, and you look at the people in charge, and you pretty much know that everythings going to kick ass.
When it comes to the question of why the leader of the Foot Clan has made such an impact on audiences, Masamune points out that behind the mask, armour and claws, there is a human being there, and one with some serious issues.
There have been various incarnations of this character who obviously has been the embodiment of pure cruelty and evil, he tells us. But it actually comes from a place of very deep pain, and depending on what your source material is Thats what draws me to the character, someone who is very daunting and cruel, but the origins of it come from very deep pain, and thats why I think hes such an iconic villain.
One of the things that seemed to cause the most divisive reaction in the lms trailers was the apparent confusion in tone. That rst trailer had William Fichtners Eric Sachs delivering a chilling monologue about crime in the city as a skyscraper collapsed and the Foot Clan stormed a subway station. How exactly were the Teenage Mutant Ninja Turtles going to t into what was looking like an increasingly Christopher Nolan-styled blockbuster?
I think nding the tone is one of the most difcult parts of the movie, and I think that took myself and the producers almost two years to nally nd the right balance, he admits.
Where you could have the fun and the charm that makes the Turtles so loveable and the scope and scale you expect from a Michael Bay picture, and have them live in the same world. Crucially, the lmmakers took great care not to lose sight of who these four heroes were. I think that theyre kind of like the most absurd combination, right:.
Teenage Mutant Ninja Turtle. And when you get to know them you discover that theyre normal kids, theyre teenagers; Michaelangelos goofy, Leos trying to keep his brothers together, Raphs the rebel, Donnies the nerd I think all these things make them incredibly relatable. And its that absurdity sort of counterpointed with the fact that theyre completely like everyone you know that makes them relatable, and I think leads to their longevity.
What must have been encouraging for Liebesman was remembering just how successful Bays lms end up being. Mike gets that on all his movies, then the movies come out and everyone loves them and they make a ton of money.
I think there were moments where I was panicking and he said,Let them see the movie. Obviously, we take fan input very seriously, and if theres constructive stuff it will get into the movie. No one is saying,dont listen to people, but youve also got a job to do, and you cant be paralysed by the constant bashing.
Thats not helpful, and so that was where he was really cool: when I was like,Wow, there is a lot of pushback on certain things, he was like,Wait for the them to see it. Its cool, dont worry. Indeed, Liebesman was determined that the fans wouldnt be ignored. Rather than write off all the online criticism, he took care to listen, and made some adjustments accordingly. Without your fans you will have no movie, he stresses. So its hugely important, and Im a fan, it would be important for me to feel heard by a movie that I was passionate about, so its important to show that respect and make the effort to listen.
Because again, fans are able to see the forest through the trees. When you look at talkback, a lot of it is not very constructive, but some of its actually quite brilliant. I love seeing what fans are saying. The identity of who would be playing Shredder was a guarded secret for a while.
The four actors playing the Turtles would be able to interact with the actors playing the humans on set, including Megan Fox as reporter April ONeil, Will Arnett as her wise-cracking cameraman Vernon Fenwick, and William Fichtner as the mysterious Eric Sachs. Liebesman tells us that each of the three leading cast members lends a vital quality to the lm.
A guy like Fichtner helps ground the concept. Megan is very fascinating, and her outspokenness helps a character like April ONeil, and then Arnett is a brilliant comedian. He sort of takes the onus off the other actors and sometimes even the Turtles to be funny, because hes extremely skilful.
The rst lm was relatively grounded and understandably so, given that it had to introduce Leonardo,. Donatello, Raphael and Michelangelo, as well as Splinter and Shredder. When it comes to taking the franchise further, Liebesman tells us that we can expect to see the sci- elements pushed further, including Dimension X. I think the producers are talking about that I think all that stuff is on the table from what I was hearing, he teases. You just dont have the budget in the rst one to do all that stuff.
You dont want to spread yourself thin, and you want to be able to pick a scope that you can do well. So things like Krang, Bebop and Rocksteady, you just dont have the budget to put those in and execute that with the amount of thought they deserve.
Things that I wish I could put in the rst movie were characters like Casey Jones and Krang; those were hard to let go of. When we were like,OK, we cant afford all of this, those were the tough characters. Fingers crossed for some hockey action and the appearance of a certain evil brain in Not all guests signing all days.
Guests are charging for autographs. Guests appear subject to work commitments. All Rights Reserved. Each touches a different nerve, but are these lms dipping into the dark night of the teenage soul in a way that resonates with a wider audience? The story follows Thomas Teen Wolf star Dylan OBrien , a young man with no memory of his past, who wakes in an elevator jolting upwards. When the doors open, Thomas meets a group of other teenage boys, who welcome him to the Glade their prison at the centre of a monstrous maze.
Balls childhood in Florida helped shape his directorial debut. The former Boy Scout said he grew up building forts and tree-houses, and connected with the adventurous spirit of the story. What made me want to make this movie was the idea of a group of boys creating their.
Theres something very romantic about being on your own when youre at that age. Adults are always telling you where to go and what to do. That was why I loved to build things in the woods and be selfreliant.
There is something powerful in that. The story isnt about young people trying to kill each other, or what its like to be in high school, or a romance. The Maze Runner shows young people dealing with adult situations. Its not bubblegum theyre trying to stay alive. Monolithic stone walls encircle the Glade, and each morning giant concrete doors open to reveal the vast labyrinth, before closing again at night.
These vine-draped walls keep the Gladers trapped, but also out of the reach of biomechanical behemoths the Grievers. Their stings can kill, but not before the victim suffers terrible agony and banishment from the camp. So far, so grim but its The Maze Runner s sinister tone that will set it apart from its peers, according to actor Will Poulter Son Of Rambow , who plays antagonist Gally.
One of the things thats left me slightly disappointed at the competition is that they didnt quite go as dark as I thought they should, says Poulter, adamant not to name names. They didnt explore the dark corners that we do. The Maze Runner is quite violent and gory, without being overstated.
The teens lives are dictated around living by and trying to escape from the titular maze. Why Wes Ball is keeping the Grievers under wraps Theres one important omission from The Maze Runner trailer, and thats a full shot of biomechanical beasties the Grievers.
Director Wes Ball wants to keep hidden for now. Some trailers leave you thinking, Ive seen the movie now or theyre selling something they dont have. Fans expect one thing and get pissed off. If someone knows whats coming then everything I did up to that point is a waste of time. Also, we have the Maze to sell to the audience rst. Described in the novel as sluglike creatures with biomechanical limbs, these menacing creatures patrol the Maze at night, and to be bitten by one means well, its not good.
Wes always wanted more, he says. He wanted it to be gritty and dirty, and he wanted more blood. It should be scary to a young audience. If things were pictureperfect and lovely, you wouldnt buy it. The Glade certainly looks idyllic, but theres nothing tranquil about the boys connement. Their memories have all been wiped and they have no idea why theyve been sent to the Glade, or by who. Yet each member of the community has a role to play, from the Builders who maintain the camp to the Runners who spend their days searching for a way out.
The connections between the young men are what give the story its heart, says Sangster. What I liked about the script was the camaraderie between this group of lads, he says. It didnt make that seem like a weak thing to do. These guys genuinely care for one another, and they just get on with things.
They look out for one another. The predominantly male cast goes against the current trend for female-fronted dystopian stories.
Poulter believes the movie has something to say about male relationships, but shares more with the classic adventures of our childhoods. You see these young men form very strong bonds, he says.
Its important that lms educate a young audience so they can bring about change. Showing young people take a stand, as the Gladers do, is brilliant thats conscious, intelligent cinema. Ball is all too aware of the pitfalls that can stem from the arguably limiting label of young adult.
He believes The Maze Runner has universal appeal. Its taken on this stigma, he admits, and does put a target on our back. We didnt make a kids movie; we made a movie with kids in it. Our story has a cool concept and a strong mystery behind it. Hopefully, people will want to see more, because we take some chances with our ending. The cast was put through a two-week boot camp on the set in Baton Rouge, Louisiana to get used to the location and each other before lming began.
Snake wranglers picked up between 10 and 15 snakes a day, as the actors sweltered in the heat and avoided wolf spiders. They can bite through jeans. Other than that, it was ne camping in the Glade, and very much like how it comes across on lm. There wasnt really much shade, so you just had to sweat and drink loads of water. When it came to doing a scene, we were heatsoaked, dirty and in the moment. I loved it, because you felt like you were really there.
The gargantuan walls of the Maze are computer-generated, but the opening and closing concrete doors, as well as the impressive Glade campsite, are very real. Poulter says having practical sets made things easier for the cast. Films that have too many CG elements are often not that stimulating for an actor, so I was very grateful for those sets. We didnt have to react to loads of green screen what you see in the frame is what we were reacting to every day. Wes is a genuine.
Book adaptations in particular have spawned in-depth reviews delving into everything from casting rumours, fan theories and lore breakdowns to our favourite: trailer reactions.
There are countless clips of YouTubers watching clips and documenting their rst impressions. We found out that the cast and crew of The Maze Runner actually kept a close eye on fans posts throughout the making of the movie.
Its been fantastic watching trailer reaction videos, beams director Wes Ball. Ive seriously watched every single one of. Its great to see these kids pull faces when they see the Griever or their favourite character appears. I could just watch that for the rest of my life and be happy. I want to get a reaction out of the audience its why Im doing this. Thomas Brodie-Sangster also enjoyed the reactions to Newt.
Those are quite fun to watch, he says. Everyone takes away something different from a book. I thought that even if the fans liked the trailer, there would still be that moment where it wasnt exactly what they pictured, but there was none of that.
I think fans like my character because hes everyones friend, but wouldnt be afraid to tell you how things really are. The Maze Runner is Balls rst experience of working with a live-action cast. Will Poulter costars as the highranking Gally. Newcomer Ball was given the directing gig on the strength of his short lm Ruin.
But he did say to me that none of that shit mattered unless we got the characters and performances right. There was something about Ruin that made it stand out, says Ball. Audiences are used to seeing destroyed and bleak worlds, but this was a romantic world like going on a quest with Indiana Jones to nd an ancient Mayan temple You have no idea what has happened, but the mystery pulls you in.
Its this big saga that deals with hard sci- ideas wrapped in fantasy adventure. Its my Star Wars. Ruins overgrown, post-apocalyptic setting showed Fox that Ball had a talent for creating worlds. He was given Dashners book and began to design concept art around his impressions. I created this one image of a kid with a spear in his hand, he says, lit by really The young cast includes Dylan OBrien and Aml Ameen. That was it: I wanted to see that movie.
The pressure of meeting fan and studio expectations might have fazed another director, but the Ball proved to be a natural with the cast, and kept things relaxed on location. When I was told that hed never worked with actors before, I was worried, admits Sangster.
But Ruin was so visually stunning that I knew Wes had a great eye. It contains in-depth information about 10 of the most amazing animals on the planet. Awesome Animals is perfect for all animal fans - not to mention teachers and parents - who want an. Firefox has, at times, been unable to download these PDFs.
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