Production
The credits cite the bestselling book Fingerprints of the Gods by author Graham Hancock as inspiration for the film, and in an interview with the London magazine Time Out, Emmerich states: "I always wanted to do a biblical flood movie, but I never felt I had the hook. I first read about the Earth's Crust Displacement Theory in Graham Hancock's Fingerprints of the Gods."
Director Emmerich and composer-producer Harald Kloser had an extremely close relationship and also co-wrote a spec script entitled 2012, which was marketed to major studios in February 2008. Nearly all studios met with Emmerich and his representatives to hear the director's budget projection and story plans, a process that the director had previously gone through with the films Independence Day (1996) and The Day After Tomorrow (2004). Later that month, Sony Pictures Entertainment won the rights for the spec script, planning to distribute it under Columbia Pictures and was produced for less than budgeted. According to Emmerich, the film was eventually produced for about $200 million.
Filming was originally scheduled to begin in Los Angeles, California, in July 2008 but instead commenced in Kamloops, Savona, Cache Creek and Ashcroft in British Columbia, Canada. Due to the possible 2008 Screen Actors Guild strike, filmmakers set up a contingency plan for salvaging the film. Uncharted Territory, Digital Domain, Double Negative, Scanline, Sony Pictures Imageworks and others were hired to create computer animated visual effects for 2012.
Although the film depicts the destruction of several major cultural and historical icons around the world, Emmerich stated that the Kaaba was also considered for selection. Kloser opposed the idea out of fear that a fatwā might be issued against him.
Read more about this topic: 2012 (film)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)