Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
When Director Rich Moore was charged with inventing<br />
a video-game-inspired film, he was thrilled—and then<br />
came the rush of panic. How can you make dimensional<br />
characters out of pixels who run and jump for quarters?<br />
And when their every move is controlled, can<br />
a personal story arc even exist? Then the answer hit<br />
him: what if, say, Donkey Kong considered his barrelthrowing<br />
a job—and better still, what if he wanted to<br />
quit? With a few more tweaks, Moore had concocted<br />
the outlines of Wreck-It Ralph, but filling in the details<br />
took years. Plus, when you’re working on something<br />
as universal as video games, everyone’s got an opinion.<br />
Moore takes us inside the circuits of Disney’s next<br />
big hit and describes the “lawless and amoral” digital<br />
world he and executive producer John Lasseter hope<br />
to visit in the sequel.<br />
PINBALL<br />
WIZARD<br />
DIRECTOR RICH MOORE<br />
IS THE MASTER OF THE<br />
ARCADE<br />
interview by Amy Nicholson<br />
WHAT DOES RALPH KNOW<br />
ABOUT THE DIFFERENCE<br />
BETWEEN HIMSELF AND<br />
HUMANS? DOES FREE WILL<br />
PLAY INTO THIS?<br />
There is some free will. They’re<br />
not puppets or locked in. If someone<br />
decided they weren’t going<br />
to show up in their game, they<br />
could do that—it’s just that there<br />
would be consequences, like in<br />
our world. It doesn’t happen often<br />
in the game world that someone<br />
just decides to go against the<br />
programming, but it does exist.<br />
As for Ralph’s look on the human<br />
world, we don’t play humans as<br />
something that our video game<br />
characters are curious about. They<br />
just know them instead as “the<br />
players.” They’re like: we do this<br />
job, we show up for work, we<br />
are performers for these people,<br />
and when they leave, we’re off<br />
the clock. They’re not mysterious<br />
to our characters—they’re part<br />
of the deal. And one thing they<br />
do know is that depending on<br />
if the gamers like their games or<br />
not, they’re at the mercy of the<br />
players. If you’re not doing a good<br />
job in your game—if you make<br />
your game look broken, if there’s<br />
something out of whack with your<br />
game—the players have the power<br />
of life and death. The plug could<br />
be pulled on your game and could<br />
render it out of order or turned<br />
off, and you kind of go down with<br />
the ship when it’s unplugged. Unless<br />
you’re able to escape to Game<br />
Central Station, as we see, like the<br />
old-school games, like Q*bert.<br />
His game was unplugged some<br />
OCTOBER <strong>2012</strong> BOXOFFICE PRO 37
Change language