Isabela Moner had quite the eventful first day on Transformers: The Last Knight!
Chatting with Girl’s Life mag, Isabela dished on the very first scene she shot for the upcoming flick.
Director Michael Bay greeted her with this: “Welcome! Today you’re going to put out a fire. Do you know how to use a fire extinguisher?”
Good thing she could!
“Michael lit this huge fire so I could practice, and kept shouting, ‘You have to get closer! Closer! You’re not in the shot yet!’” Isabela shares in the December/January issue. “All I could think was, ‘My face is going to melt off!’”
Another scene found Isabela sprinting while hauling three huge para-chute bags. “I grabbed them and I ran through the scene with all this wind blowing in my face and dust getting in my eyes and smoke and things on fire. When I finished it, it was just the most amazing feeling to know that I’d done it.”
Pick up Isabela‘s Girl’s Life cover on news stands on November 15th!
Throughout the interview, the team’s dedication to the characters and the stories was inspiring. To this team, products are more than the end result, they are a labor of love and a passion. Mr. Warden continued by telling me that his plan for the designs “depends on the toy line and where they start. My work on Generations might not be the same as for Titans Return. Although Generations and Titans Return are playing with characters from the late ’80s, these characters are really resonating with new and old fans, so we’re trying to keep in that universe. We want to look at the range of fans and at characters’ universal appeals. We have to choose characters based on not just popularity but also purpose into the line.” It’s this commitment to both the toys as an item as well as the stories within the Transformers universe that was ultimately inspiring.
Whether it’s the play pattern, the names, or the colors, the integration of these multiple factors matters. Sean Carmine Isabella shared, “we want it to good look, but the biggest challenge is to not put a barrier in the play patterns. Play pattern starts with the core audience, so we talk to the age range. We look at what TV shows they’re watching, what cartoons they’re watching. We want to see what’s speaking to kids today.” Ben Montano follows up by noting that the different age ranges “definitely complicates things. The duality [of both toy and consumer are] what makes us unique.” Mr. Carmine Isabella shared that the integrative approach matters because “it’s a back and forth process. We’ll think about the colors and if it doesn’t make sense with the story backroad then it’s not going to work. The kids need to be able to connect to it.”
Speaking exclusively to Metro.co.uk, Mark admitted that by announcing there would be mini-dinobots in the upcoming sequel he had ‘already revealed too much’ but that fans should also expect ‘a few other surprises’.
The film currently has confirmed autobots, decepticons, mini-dinobots, King Arthur, Nazis – and Sir Anthony Hopkins.
...one of the best experiences (he's) had on a film...since Speilberg
Directors like...Bay...just say "Let's do it". I love that, because I'm like that
He said.People haven't been fortunate enough to read the script and they don't know that Churchill in this movie is a big hero
Optimus Prime As Both Statesman & Soldier
PREVIEWSworld: What reverberations from Revolution will carry over into the events of Optimus Prime #1 (SEP160404)?
John Barber: Not to give anything away, but as Revolution starts, Optimus is in a fairly antagonistic relationship with ... well, almost everybody. He’s come to Earth and said the whole planet is going to be part of Cybertron’s Council of World, without asking if the people of Earth wanted to be in it — or if the people of Cybertron wanted them. He’s doing this because he thinks he’s out of options to protect the Earth — he’s tried fighting evil Cybertronians, tried leaving the place alone. But bringing Earth into Cybertron’s fold is the only thing he hasn’t tried.
PREVIEWSworld: Describe your working relationship with artist Kei Zama. How have you two got along during production? How does the chemistry work, and why is Kei the best person for this book?
John Barber: I’ve known of Kei for a while — she’s friends with Andrew Griffith, who drew the Transformers series. I’d been working with him for years, and he — understandably — wanted to take a break from Transformers and work on some other characters for a little while. So I knew there was going to be a change.
CBM: How did you get involved with Combiner Wars?
Amy Johnston: "I got involved with Transformers: Combiner Wars through Bat in the Sun whom I had worked with previously on their show "Super Power Beatdown".
CBM: Were you a big Transformers fan growing up?
Johnston: "I have definitely been a Transformer's fan so when I found out about the role of Maxima I was super excited! How cool to have my own Transformer character! I love her!"
CBM: How did you find the right voice for Maximia?
Jonston: "Maxima was described to me as a strong female character who had a relationship wtih Windblade so I made sure to give her strength and passion yet retain a femininity about her."
Is there a challenge that's inherent to doing something like this? When you look at web series, you have a lot of like "Okay, we just grew up this property that you like" and it's mostly played for laughs. Is there a challenge to doing this seriously and not feeling like another kind of web series that's trying to take a fun?
The great thing is, both Machinima and Hasbro, they have never used that word with me. They said "You are making a series." They always put it at a higher level, and the show is budgeted, and distributed in a very sophisticated way, that to me, is not like a webseries at all.
So I think about this as an adaptation, I just go "Hey, it's my job as a creator to make the best work I can" and I don't think about "Oh it's only for this category so let's have fun", I want to tell this combiner wars story, and I'm going to tell it in 40 minutes. That's almost a movie, so I really treat it like that. There's act breaks, there's a solid structure to the character development, there's resolution. That's what I'm worried about.
ComicsAlliance: Since it’s the one that’s set on Earth, it seems like the post-Revolution combined universe is probably going to affect your book more than the others. How do you go about integrating the history of the Transformers on Earth into all of those disparate stories?
John Barber: In a macro sense, the GI Joe comic hasn’t really delved into the deep history of Earth and of the universe the way Transformers has, so there’s not a whole lot of back-time that’s irreconcilable. There were big Earth-shattering events that have happened in Transformers, and to a lesser degree, in GI Joe, so maybe there’s some squinting that needs to be done to make it all fit, but… I mean, we don’t name-check real-world tragedies in the comics with a great regularity. That doesn’t mean those tragedies didn’t happen, or wouldn’t have impacted the characters, it just doesn’t necessarily come up in the midst of a story focused on tracking down Tomax or Galvatron or whatever.
CA: With Ore-13 being such a big part of major Transformers stories like “Dark Cybertron,” is this something that’s been planned for the past few years, or did it just line up that way as something that could be mixed into the larger universe?
JB: That’s a complicated one to answer… Ore-13 is why the Transformers are on Earth. Ore-13 is on Earth because Shockwave put it there. Shockwave put it there (on Earth specifically) because, it seems, Galvatron (inadvertently) crashed the Enigma of Combination on Earth — the Enigma is a super-ancient Cybertronian relic.
So, what that all means is, going forth from “All Hail Optimus,” Ore-13 was playing a role. Revolution sort of focuses that a little tighter, and it made sense to highlight it thematically because it was something Simon and E.J. planted right from the beginning of Transformers comics at IDW, which was the beginning of IDW’s relationship with Hasbro.
So, it’s not like we did “Dark Cybertron” knowing inevitably that three years later we’d have Revolution, but the function of Ore-13 didn’t really change that much.
CA: Considering that More Than Meets The Eye has taken place almost entirely in the far reaches of space, will the restructuring of the post-Revolution universe affect your story, James? Will one of those side-quests take your crew to Earth at some point soon?
James Roberts: Well, MTMTE gets in on the action with a Revolution tie-in featuring the Scavengers, who are kind of the alternative main cast. That’s an Earth-based story. Nick Roche and I are co-writing for the first time since 2010’s Last Stand of the Wreckers, so even if we weren’t getting an opportunity to pit the world’s worst Decepticons against the likes of MASK and GI Joe, it would still feel like an event for us.
Post-Revolution, there are no plans for the main MTMTE cast to travel to Earth… but then that’s unsurprising, considering the situation they find themselves in at the end of MTMTE #55, which marks the end of what we’re calling the Season 2 finale, ‘The Dying of the Light.’
The post-Revolution universe is just that, though — a universe. And there are opportunities, should I wish to take them, to play around in the new, enlarged sandpit even though, as you say, the Lost Light and its crew are far away from Earth.
Season 3, as it plays out in the pages of Lost Light, is going to take everybody in some very strange directions. The quest for the Knights is going to much more at the forefront than it has been to date. There’s an urgency about it now that perhaps wasn’t there before. Different characters — and I’d being careful not to give anything away, because who knows who we’ll be focusing on in the future — will find themselves weighing up their loyalties and their priorities as we start to turn our attention, in small but significant ways, to the end of the quest.
CA: Chronicling political machinations and culture clash through the medium of robots that turn into cars seems like a tricky proposition, but it’s something that’s been at the center of the Transformers books set on Cybertron for quite a while now. How do you approach it to make it work without seeming silly — or at least, unintentionally silly?
MS: Science fiction has always been a place to talk about human issues that are a bit too touchy to explore with actual human characters. Police brutality, political and religious extremism, government corruption and overreach, bigotry, poverty, crime, these are all things our readers are confronted with every day. To act like Transformers, who are so like us, wouldn’t face the same challenges is disingenuous to the characters. To act like our book is supposed to teach some kind of set morality to our readers is disingenuous to our readers.
Instead we’re trying to build interesting, exciting stories that are real enough to feel like they matter without getting too bogged down in the ‘realness’ of any actual event. Turning into cars and planes is just as big a part of our characters as anything else. And it’s fun! There’s no reason to get rid of it just so we can feel “ripped from the headlines!”
That’s why an artist like Sara Pitre-Durocher is so critical to TAAO. She brings a humanity to our characters that lets our readers decide for themselves what the “right thing” is. But she also draws amazing action that keeps you turning the page. We want you to get an exhilarating story in every issue of Transformers: Till All Are One. If after you put it down, you think back to it when something happens in real life, so much the better.
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