ARTS
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INTERVIEW
DANCE
Leeds Student talks to Christopher Columbus and stars of the film about the unlikely alliance of ancient Greece and 21st century America in his latest offering.
Leeds Grand Theatre
As Time Goes By
Percy Jackson and the Lightning Thief Christopher Columbus is known for making some of the best loved children’s films of recent times, including Home Alone and the first two Harry Potter films. Yet for Columbus it’s important that he distinguishes Percy Jackson from his previous work. “I’m very happy with the film, and very happy to say it’s nothing like Harry Potter. I just wanted to get that off my chest.” The director is no stranger to the world of fantasy, but Riordan’s books offered Columbus something different. “I was just intrigued by the concept which I had never seen before – that is the concept of Greek mythology co-existing in modern American society. I just thought it was a great idea.”
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I’m very happy with the film, and very happy to say it’s nothing like Harry Potter.
Columbus wasn’t fazed by adapting another book, despite Percy Jackson rivalling Harry Potter in terms of popularity in America. However, in the film Columbus chose to increase the ages of Percy and his friends. “For me it was important that the characters felt a little older than they did in the book. I felt that this needed to be a little more edgy, a little grittier – as much as we could do in a PG film anyway.” For many of the cast however, it wasn’t the books but the opportunity of working with Columbus which attracted them to the film. Logan Lerman (Percy Jackson) admits “I
knew nothing about the books when I first got the script, but right below the title it said Chris’ name and that’s what really attracted me to it. His films have shaped my childhood.” Percy Jackson is littered with big names – Uma Thurman and Pierce Brosnan occupy small roles. Steve Coogan jokes that for him making the film was “a doddle. I just turned up, got to spend a week in Vancouver, got to kiss Rosario Dawson and when you’ve got these visual effects, half the job’s done for you.” For Brosnan, this relatively minor role achieved high praise from his children. “Show and tell was last week, and as we left the studio my eight year old son said ‘Dad, that’s the best movie you’ve ever made.’” The film is visually magnificent and this is down to some truly spectacular special effects. Indeed Columbus is confident that in this picture they are some of the best yet. “The first Harry Potter films were actually a graduate course in visual effects for myself,” he recalls. “I realised there was a certain method in just being obsessive with the visual effects to make sure they worked seamlessly with what the actors were doing. And I think we succeeded.” With four more books, expect to see a lot more from Percy Jackson and friends. “I’d love to make another film almost immediately with these guys.” And despite rumours that he’s set to become the next Spiderman, Lerman agrees. “I’m invested in the whole series and I’m crazy about the story and the character, so I’d love to do all the films.”
words: Laura White
FILM
Pe r cy J a ck s o n a n d t he Lig h t nin g Th ie f
Based on the best-selling series of books by Rick Riordan, director Christopher Columbus’ latest film traces the adventures of Percy Jackson who, on a trip to the museum, discovers that he’s the son of Poseidon, and therefore a demigod. As if this isn’t enough to take in, his uncle Zeus (Sean Bean) suspects him of stealing his lightning bolt – the original weapon of mass destruction. Luckily, Percy has the guidance of Chiron the Centaur (Pierce Brosnan) as well as his friends. As the Gods threaten to wage war, Percy and his companions embark on an adventure of a lifetime which leads them from Las Vegas to the depths of the Underworld. illustratday ion:America Meghanwith Allbright The merge of modern ancient Greece that underpins the entire plot is an original idea and in a satirical dig, the film even hints that demigods walk amongst us, disguised as celebrities or politicians. From the spectacular opening shot of a 40 foot Poseidon emerging from the sea, the film’s CGI effects steal the show. However, characterisation and plot development pay the price for this. With its brisk pace, key elements of the story are rushed like the unconvincing romance plot. Moreover, the most poignant dimension of the film, the story of a father who cannot see his son, remains severely underdeveloped, sacrificed for the big effects. Logan Lerman in the title role is one to watch. With Zac Efron-esque looks he’s Hollywood’s next teen heart-throb, and gives a competent performance as the troubled hero. For Coogan’s portrayal of Hades simply picture Mick Jagger, as Columbus adopts the age old cliché of getting an ageing Brit to play the camp bad guy. However, it often feels that these big names aren’t made full use of. Sean Bean, no novice in this genre, is barely memorable as Zeus. Columbus is adamant that Percy Jackson is nothing like his Harry Potter films, and he’s right. It’s simply not as good (and this coming from a non-Harry Potter fan). Nevertheless Percy Jackson does offer entertainment. The film is essentially pure silliness, but it is fun and enthralling. Despite its copious shortcomings, the storyline makes a nice change from the wizards and vampires we’ve grown accustomed to. If that isn’t enough, the surreal sight of Pierce Brosnan with a horse’s ass and hooves provides more than enough entertainment by itself.
Undoubtedly the perfect date night out, five stars go to Northern Ballet Theatre’s As Time Goes By, an evening of classical to contemporary ballet. The performance opening premiered former NBT dancer Daniel de Andrade’s Glass Cannon, a rambunctious dance for ten dancers set to Eastern-inspired jazz by Scottish band Moishe’s Bagel. The dancers’ relentless blasts of movement shot their bodies into the air or across the stage. Andrade briefly played with the bounds of contemporary ballet with men partnering men and women partnering women. Composer Phil Alexander warmly commended the dancer’s interpretation to his music: ‘I thought it was great. I was thrilled to see it.’ Isabella Gasparini and Hironao Takahashi delivered a satisfying Don Quixote Grand Pas de Deux duet. NBT’s Artistic Director David Nixon showed off his dancers’ athleticism in his work, Powerhouse Rumba. Nixon’s cutting-edge choreography resembled William Forsythe’s improvisational methodology, complete with blue and green Umiko dancewear. The audience was stunned by Victoria Sibson’s solo performance in Ossein, set by acclaimed choreographer-in-residence at the Royal Ballet, Wayne McGregor. With impeccable precision and control, Sibson portrayed one woman’s struggle to find freedom from confines of rigidity. All that was visible in the spotlight was her chiseled body as it sliced the air, a striking contrast to the harmoniously complex piano music. In his Angels in the Architecture, American choreographer Mark Godden used broom sticks and chairs to captivate the simplistic life of the Shakers. A ‘well made Shaker broom would stand on its own’ was Goddard’s inspiration for the opening image of the piece, where six broomsticks stand alone. The women, and later the men, manipulated the brooms, and hung them on the backdrop like swinging pendulums as part of the set. The title piece of the night, As Time Goes On, delivered an appealing mixture of classical ballet with Jazz and Swing. Decked out in black evening gowns and tuxes, couples graced the 1920’s dance club set. Twenty-two year old Jazz sensation Peter Grant sang live in this finale of the evening, including ‘Always’ and ‘Sophisticated Swing.’ NBT have exceeded expectations once again. words: Rebecca Krumel