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Collider caught up with director James Wan and writer Leigh Whannell (who also provides some comic relief onscreen) for a very revealing interview. That doubt is starting to fade, thanks to a return to the pair’s indie roots and a shift in their filmmaking. For this particular interview, we strongly recommend you click here to listen to the audio, but you can also read on for the transcript. Wan: Well, just ‘cause all of my friends are on it and they all tell me to follow them, so I finally did.
Yeah.  Well, Saw has such a passionate following of fans.  How are you incorporating social networking in terms of your promotion for (Insidious)?
Yeah, and speaking of coming back to Saw, I mean, this is like it’s coming back to your roots, with Insidious.  The reason why you had two guys in a room (in Saw) is because of budgetary constraints. And also, David Lynch as an influence and all of his terror, all of his drama, plot twists come out of silence.
Whannell: (playfully calling James out for the allusion) Are you talking about Platinum Dunes? Whannell: (not letting James off the hook) Platinum Dunes is that company that pumps out all those crappy horror remakes that are just not scary at all and completely s—t. Wan: But I think, yeah, the silence and the right use of the score and sound design is what ultimately make these kind of films work, yeah.
Did you talk to them about that and say, like, “Years ago, we actually plotted out this (They laugh), this thing?”  Did you have that conversation? That’s hysterical.  So, Barbara Hershey comes off of Black Swan where she’s terrified, as a mother. Whannell:  The-, but the sci-fi film we’re working on, it’s not so much spiritual (like Insidious) as it is, like, technological.  You know?
Wan: There’s an outer space element, but it’s, um, ultimately set on earth, in a future earth.
Whannell: Yeah, I mean, it’s hard to talk about because I don’t want to give anything away. Ok, thanks.  I can’t tell whether you’re kidding or not.  (They continue to laugh)  Well, next year, you’re adapting a, a graphic novel, right?
Now, the first time that I met you guys was the night of your last midnight showing (in Park City), I think, at Sundance of Saw. What advice would you give yourselves, the 24-year-old versions of yourselves, now, as you were starting to go through this entire process? And like, have a “Bill & Ted’s” moment with yourself, like, (Wan laughs) what would you say to yourself? Shyamalan collaborated with Bryan Konietzko and Mike DiMartino to identify these essential elements and work out a plot for Shyamalan to write a screenplay with. The bending arts were reworked with Shyamalan new story parameter of firebenders requiring sources of fires, which "evens the (playing) field"[2]. The negative fan reactions for the upcoming movie were parodied in "The Ember Island Players". Shyamalan was attached to the movie in January 8, 2007[4] before season three was completed (i.e. Zuko's anti-hero status was done with less subtlety in the film, rather than revealed throughout the original animated series, which highlighted the moment this status was confirmed when Zuko turned against his father and joined Aang.
A common storytelling technique to avoid confusing the anti-hero as "another villian" that rivals the real villain in the story, is to have a "good" character vouch for the anti-hero, e.g.
Depending on how the show creators originated the names and terms, a few were given a different pronunciation, rather than an American pronunciation: Aang (???), Sokka (Soka), Iroh (??ro?), Avatar (?v?t?r), and Agni ki Duel (????? ?? ????). Princess Mononoke (?????, Mononoke-hime) is a 1997 epic Japanese animated historical fantasy feature film written and directed by Hayao Miyazaki of Studio Ghibli.
Other similar story elements from Princess Mononoke were also not used in Shyamalan's film adaptation. As for the "symbolic gesture" in the movie, it should be noted that unlike in the episode "The Siege of the North, Part 2", Aang was fully aware and in control of his immense waterbending ability, i.e.
As with the animated series, the Ocean Spirit was incarnated in a form of a black koi fish, while the Moon Spirit in a form of a white koi fish. This aligned the Spirits with the real world convention of Yin and Yang, with Ocean Spirit as black Yin for female and Moon Spirit as white Yang for male.
Their abilities can be associated with real world physics: our Ocean "push" the water to the shore with its wave power, while our Moon "pull" the water with its gravitational pull.
Instead of using Written Chinese as done in the original animated series, the writing in the movie is a made-up language influenced by Chinese calligraphy, similar in concept to developing the Klingon language.
This made-up language is not well received by many fans of original series, preferring actual written Chinese instead.

It seems like it's popular these days to bash Star Wars, and it angers me that people's opinions are so easily swayed by what's vogue. Night Shyamalan conducted by Bryan Konietzko and Mike DiMartino, the film trilogy was planned to be 6+ hours long, which gave 2+ hours for the first movie (though the final running time is 103 minutes).
Appa's arrow was removed, although as far as not needing wings to fly like Momo, Shyamalan said, "Appa can just fly. The main article has a list of elements taken from the original animated series that are otherwise omitted or changed, e.g.
Shyamalan may have established Zuko's anti-hero status more quickly due to the racebending controversy, with Zuko cast was with a dark-skinned minority actor, while the hero side (Aang, Sokka, and Katara) cast with light-skinned actors. Albus Dumbledore for Severus Snape in the Harry Potter series and Gwen Tennyson for the Kevin Levin in the Ben 10: Alien Force series.
Rather than a carefree and comic-relief character, Iroh's character in the movie was modeled strictly as gentle, kind, wise, and a spiritual person.
Though brief a scene, established that Aang consider Iroh as a trustworthy and a good person, and understood that Iroh regretted having to detain Aang after he passed the test, i.e. This story element introduced in Book Two, enables the audience to see the other side of Zuko's mean and explosive personality. Toph was also pronounced the same by Shyamalan during the roundtable discussion, likely because the creators intended her name to be a phonetic reference to English words "Tough" or "Tuff". Agni Kai was either reworked as a Hindi word, Agni ki Duel (????? ?? ???? - "Duel of Fire"), or pronounced the way it was meant to in Hindi, as a typical American speaker would pronounce "Agni-Ki" as "Agni-Kai" rather than "Agni-Kee". Bumi (meaning "Earth") already used the proper pronunciation in the animated series so it was pronounced the same in the March 2010 Interview. In particular, in the Siege of the North episodes, the character Hahn used the Japanese pronunciation of Sokka (??) and Zhao (?), and may had deliberately mispronounced Cho as Choi (??? meaning "Little" in Japanese). The design of Koizilla closely resembles the Forest Spirit from that film in its gigantic "Nightwalker" form. When Iroh noticed that Yue was anointed by the Moon Spirit, Yue said to Iroh "He gave me life when I was a child." In contrast with the animated series, the Moon Spirit was female. Hence, the waterbenders may use the Moon to lift the water into large tentacles and suspend it in mid-air like in "zero-gravity" manner. They were not explicitly named in Chinese for the film, possibly to prevent confusion with Tui for Moon Spirit and La for Ocean Spirit in the animated series.
This emphasized the story taking place in an Asian-inspired "alternate world", rather than an "Asian world".
Professor Siu-Leung Lee, who helped with Chinese calligraphy in the original series, was also unhappy with the direction the producers have taken. The cinematography was staggering, and the atmospheric scope that Peter Jackson brought to the screen was on par with the Star Wars series.
Even after multiple viewings, I still remain enchanted by the majesty of George Lucas's universe. I ran across an online copy of it several months ago, and at a friend's recommendation, I downloaded it and watched it. Night Shyamalan was attached to the film trilogy, he was "interviewed" by Bryan Konietzko and Michael Dante DiMartino. Due to the short allotted running time, the film does not cover the entire first season of the original animated series, even though the film was titled "Book One: Water". Since The Ember Island Players episode was aired in July 18 2008, the play in that episode was likely in reference of the upcoming movie, before its actual filming began in mid-March 2009.
For the movie, Shyamalan brought it out earlier with Zuko's family picture (shown just before his combat training on his ship) and Zuko's monologue to Aang (while Aang was hand-bound in a storage room). Chinese names with the acceptable pronunciation in the series were unchanged in the movie: Yue (?), Yin (?) and Yang (?).
Thus, the spellings of her name in the series, ?? and ??, are just how to write "Toph" using Chinese characters (i.e.
Other Water Tribesmen with Japanese names already used the acceptable pronunciation in the series: Pakku (???), Hakoda (??), Bato (???) and Hahn (??).
Shyamalan may have changed this to appeal to "the world"[3] including the middle-eastern audience who generally dislike the 'incorrect' American pronunciation of Iran or Iraq. In the ending of Princess Mononoke, Lady Eboshi wanted to kill the Forest Spirit for the humans to triumph over the "gods", which may be similar to what Zhao wanted to do with the Moon Spirit.
A key difference from Princess Mononoke was the inclusion of the Spirit World; in contrast from that episode, the Forest Spirit and the other supernatural creatures always reside in the "human world" rather than only during the winter solstice.
The mechanics of the gigantic tidal wave may be explained with Aang using the Ocean to push a large body of water against the fort walls and the Moon to pull it high toward the sky. No other series of movies has the depth and scope capable of entertaining people of all ages.

Night Shyamalan is becoming as adept at creating atmosphere as the great Alfred Hitchcock was. Night) Shyamalan did with The Sixth Sense.  Those are both movies that are very controlled.
With such a rich and complex story elements, rather than a "comprehensive adaptation" like Harry Potter and Lord of the Rings, elements from Avatar: The Last Airbender were selected and rewoven into its own story and direction, similar to a "selective adaptation" approach with a long series like Spider-man and X-Men. Very likely, the show creators anticipated the negative fan reactions of the film adaptation for Avatar: The Last Airbender, based on their own experience with film adaptations of favorite shows from their own past. The inclusion in the movie may not follow the same order as the series – see the synopsis to see how these elements were incorporated into its own story and direction.
Shyamalan also indicated in the roundtable discussion that "I want to know what happens to Zuko's mom". Other names that may be affected in the sequels include Long Feng (??), Dai Li (??) and Bei Fang (??).
Likewise, other unchanged names include Kyoshi (??) in the movie, and Suki (??), in the roundtable discussion.
It may also serve to acknowledge the character being played by a middle-eastern man, as Shaun Toub is an Iranian-borne Persian Jew. If so, Zhao may be an English phoentic spelling for another made-up name for the Fire Nation - any Asian names with the same romanized spelling for "Zhao" may simply be a coincidence. However, when Hahn said "We'll take out this Admiral Cho in no time", Sokka yelled "It's Admiral Zhao!!!" Later, Hahn showed up on Zhao's ship wearing the Fire Nation uniform that Sokka had nitpicked earlier as outdated, yet Hahn still insisted as correct.
The concept of the Spirit World that was first introduced in that episode, was included in the film adaptation by first mentioning it in Katara's narration of the prologue, and later given a brief overview with Kanna's exposition to Katara and Sokka in the igloo. This may be compared to what Koh said to Aang in the episode "The Siege of the North, Part 2": "Tui and La, your Moon and Ocean, have always circled each other in an eternal dance.
I respect that his works was a landmark achievement in the genre of high fantasy, but I'll take the movie adaptation instead, thank you. Considering this film's ending and A.I.'s ending, though, is Spielberg losing control when it comes to wrapping stories up? That's pretty much what Signs is--an exercise in yanking the audience around via atmospheric suspense.
However, some fans mistaken the film as poorly executed "comprehensive adaptation" and insisted on a direct comparison with its original animated series.
A possible English name that may be retained in the sequels is Ty Lee, a spelling variation to a girl's name, Tylie. Otherwise, the creators may have wanted to retain the American pronunciation for the Asian name ?[nb 1].
He cried "Admiral Choi, prepare to meet your fate" and rushed to attack Zhao from behind with a spear; Zhao casually threw Hahn overboard with one hand and continued his interrupted conversation with Iroh. Iroh) pleaded to her for peaceful coexistence between them and humanity but she severed the head of the Spirit anyway, while it was turning into the Nightwalker form.
It gets its point across without confusing the children, the true target audience of Lucas.
Take your kids to watch disgusting, gory flicks and then tell them gleefully how that qualifies as "badass". Since they have neither publicly praised nor condemned the movie, they may have taken the stance of not endorsing any particular view of the movie, and thus want fans of the original series to make up their own minds with M.
The Lord of the Rings or the Matrix may be more badass, but neither are nearly as endearing. Then when you turn around and their innocence and imagination have been shattered, you'll know where to place the blame. This may be confused with "Chao" (?) by an American speaker, since both affricate consonants t? and t? may sound similar to another affricate consonant t? as in "Chocolate". For Japanese, ? is also romanized as "Zhao", is pronounced as t?o, and is phonetically spelled as Cho. Ashitaka risked his life to return the head back to the body and end its the brutal rampage.
The original story elements in the Siege of the North included the tragic story of Princess Yue's sacrifice to save her people and Zhao's willingness to die as a hero (rather live as a failure) to the Fire Nation; those were kept in the movie.

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