On Translating the Pace and Rhythm of the Game to the Film
Published Thursday, April 20, 2006
I am curious as to how you manage to translate the pacing of the game into the film? In Silent Hill 2, for example, we go from an apartment building to a hospital, prison, and hotel (and that doesn't include the whole town in between). In a game world, however, we are free to take our time and aren't restricted to a 2-hour running time.
- Nick G
A very good question. The idea of the game of course is that you are lost and you must find your way. Then you are given tools like the map to help you. You are constantly referencing the map to work out where you are. I think we succeeded in finding a nice alternative for Rose to work her way through the town of Silent Hill without a map. We had to find an equivalent logic for telling the story. The complexities and the richness of the narrative set the pace. If we had gone too fast it would have been anti-Silent Hill.
Another important factor that we were conscious of in establishing the rhythm for the film is the sound. In the game it isn't just a matter of speed or movement. I think the very specific pace of the game comes from the sound. The sound and the silence. When I play the game I am sitting in the dark wearing headphones. The tempo is heavily influenced by the amazing work of Akira Yamaoka's sound design. With luck he was able to collaborate with us on our movie. I don't think you will be disappointed.
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