IMPRINT CEREMONY ROLAND EMMERICH JUNE 14, 2016 VARIETY.COM 70 ← group of people from all over the world that have to unify and band together, which is the theme in the first one and even more so in [“Resurgence”], is dear to his real, authentic heart.” The alien invasion hit grossed more than $817 million worldwide, establishing Emmerich as Hollywood’s master of disaster. “It was a seminal movie, because all of a sudden people realized if you have a certain tone … the movie had a very big, international feel to it that was also something totally new,” Emmerich says. “But Steven Spielberg told me and Dean when we met him afterwards, ‘this will be one of the most imitated movies for the next 20, 30 years.’ And it was, in a way.” Devlin — who has collaborated with Emmerich for 27 years, since they met on the set of “Moon 44” — says they approached “Independence Day” with the desire to recapture the action-packed escapism of such films as “Star Wars” and “Indiana Jones.” “I think that there’s a tendency in blockbusters today to take themselves very, very seriously, and while that’s created some very compelling content, it doesn’t quite have that same joyous feeling,” Devlin notes, attributing part of “Independence Day’s” success to its self-awareness. “There were a lot of references in the movie. There’s a lot of saying to the audience, ‘Hey, this is part of a type of popcorn movie that we’ve loved and we’ve forgotten about. Let’s bring it back.’” Growing up in Germany, Emmerich studied at the University of Television and Film Munich, where he initially intended to be a production designer. When discussing his early career, Emmerich describes himself as “a little bit of an odd duck,” who eschewed the popular style of German cinema of the time, which drew its influences from the French and British New Wave and Italian neorealism that was in vogue across Europe. Steven Spielberg told me and Dean, ‘This will be one of the most imitated movies for the next 20, 30 years.’ And it was, in a way.” Roland Emmerich “I was always looking to America, and I just thought the movies were were more entertaining, more to my taste,” he says. “I was relatively strongly supported at first from the [German] funding system, but when they realized what movies I really wanted to do, they backed off, so I had to look for outside financing.” Help arrived in the form of Robert Little, who owned Overseas Filmgroup, a worldwide sales and production company. The shingle helped finance Emmerich’s early pictures, allowing him the autonomy to film them in English and appeal to a wider audience. These days, financing isn’t a concern for the multi-hyphenate, whose films have grossed over $3 billion worldwide. “Here’s a filmmaker that generated franchises,” says James A. Woods, who co-wrote the screenplay for “Resurgence” with Emmerich, Devlin, and Nicolas Wright. “This is a time in cinema where, if you don’t have a brand, whether it’s an X-Men or a Batman or a Transformers or a Ninja Turtles, it’s really difficult to make those big-scale movies, and Roland was able to create those, a few times in his career, which Pulp Fixation Dean Devlin, Ellory Elkayem, and Roland Emmerich on the set of “Eight Legged Freaks” in 2002; Emmerich on the set of “Stargate” is kind of incredible as a filmmaker; you’re also a storyteller who’s generated franchise-worthy material. That’s like if Stan Lee was also Matt Vaughn together as one human being.” Despite his success in the disaster movie genre — apocalyptic drama “2012” grossed $769 million worldwide, second only to “Independence Day” in his filmography — it’s telling that Emmerich’s favorite film is one of his smallest, both in budget and gross. “For the longest time, ‘Anonymous’ was my dream project,” he says. “It’s so different, people didn’t even know that I did it.” Despite the underwhelming box office performance of his smaller films, Emmerich still intends to pursue those personal projects in addition to his blockbuster crowd-pleasers. “When you make smaller pictures, it’s a little bit more family-oriented,” he says. “You feel more that you’re making a movie. These bigger movies, it’s a little bit like you’re running a company.” Collaborators Sing Helmer’s Praises One word that frequently pops up when discussing Roland Emmerich is “fun.” When discussing the director’s attitude on set, his colleagues are quick to praise his enthusiasm, attention to detail, and collaborative nature. Jeff Goldblum “He’s terrifically prepared and wildly conscientious. He’s a force of nature. He’s an amazing, freakishly powerful, creative force, but then he’s fun,” says Goldblum. “He loves actors and then he likes to collaborate with them and create an atmosphere of trust and playfulness and improvisation.” Dean Devlin Producer Devlin, Emmerich’s creative partner on “Stargate” and “Independence Day,” notes that Emmerich’s positivity has stayed consistent throughout their 27-year working relationship. “This is a business that becomes more of a business all the time, and many people believe that unpleasant experiences make for good movies, and Roland’s not one of those guys,” he says. “Working with Roland is fun, because his passion becomes infectious, and then everybody has it, and it’s a really unique experience.” Bill Pullman In keeping with “Independence Day’s” theme, Pullman jokes that Emmerich is “a little bit of alien hybridization” too. “Maybe it’s his Germanic side, which is about his precision and his visual aesthetic, married to him always being kind of a teenage boy,” he laughs. “I love it most on set when he’s describing what you’re seeing — he always says, ‘and then this comes, and it’s really cool.’ Just the way he says ‘cool,’ it means a lot more than anybody else saying it.” EIGHT LEGGED FREAKS: WARNER BROS/PHOTOFEST; STARGATE: CLAUDETTE BARIUS/MGM/PHOTOFEST
WE PROUDLY CONGRATULATE OUR FRIEND ROLAND EMMERICH ON HIS HANDS & FEET IMPRINT CEREMONY
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