‘Transformers One’ Director Josh Cooley on the Influence of Art Deco, ‘Ben-Hur’ and the Original 1986 Animated Film

As a long-time animator who’s worked on projects like “Inside Out” and “The Transformers: The Movie,” I can wholeheartedly agree with Pete’s sentiments about kids being smarter than we give them credit for. In my experience, children have an uncanny ability to grasp complex ideas when presented in a clear and engaging manner.

To many devotees of “Transformers,” watching Optimus Prime’s demise in the 1986 film “The Transformers: The Movie” was a significant and emotional cinematic moment, even though it might not have been a completely heart-wrenching event for all.

The swift and intense response to Hasbro’s move to eliminate the Autobot leader for new toys, labeling the franchise as mainly children’s entertainment, was significant. However, this changed when Michael Bay introduced adult-themed live-action films to the series. Now, with the release of “Transformers One,” director Josh Cooley aims to strike a balance between the innocent tales of the animated series and Bay’s more mature content. The film delves into the story that transformed the wide-eyed robots Orion Pax (played by Chris Hemsworth) and D-16 (Brian Tyree Henry) into future foes Optimus Prime and Megatron. Accompanying them on this journey are B-127, destined to become Bumblebee, played by Keegan-Michael Key, and Elita-1 (Scarlett Johanson), as they explore a period in Cybertron’s history that proves far from idyllic.

Before the September 20th premiere of “Transformers One,” I had a chat with EbMaster about the enormous impact that “The Transformers: The Movie” had on my own animated endeavor and the diverse factors, ranging from Biblical epics to Michael Bay’s live-action films, which molded my vision for this unprecedented piece of “Transformers” lore.

How much, if at all, did “The Transformers: The Movie” factor into your approach to “Transformers One?”

As a young child of seven, I witnessed the movie for the first time at a friend’s birthday party in a theater, and we were all taken aback by Hasbro deciding to start fresh with new characters. On rewatching it before working on this film, I remembered feeling awestruck by the sheer size of it – Unicron destroying the entire planet. Even “Star Wars” at that time didn’t seem as colossal. For this movie, I wanted to create an opposite effect since humans can’t relate directly to the robots. So instead, I aimed to make the environments surrounding them enormous, like the vastness of Cybertron itself.

What were your visual hallmarks in creating this world?

Initially, we chose to kick off our project with G1, a series that holds a special place in our hearts. The distinctiveness of its characters and their iconic appeal make it foundational. So, we embarked on our journey with Floro [Dery], the original creator of these beloved characters. To add a unique twist, we decided to incorporate elements of Art Deco design, a style that flourished in the 1930s after the Great Depression, symbolizing prosperity and optimism. This was a vision of Cybertron where everything was going smoothly before its eventual downfall. Art Deco is characterized by grandiosity and elegance, as if a robot had constructed the Empire State Building or the Chrysler Building. We incorporated this aesthetic into our production design and even reflected it in our character design.

Obviously, you have to end up with Megatron as a villain. But how did you ensure you didn’t betray, or overplay, the friendship between the two of them?

The thing that I really hung my hat on was the relationship between the two of them and making sure that it wasn’t, “I don’t like you anymore, I hate you, now we’re going to fight.” [The conflict comes] because they believe they both have the right answer to this problem. And the more that the ultimate bad guy is bad, that makes you sympathize more with Megatron because you understand where he’s coming from. And from the very beginning, I really wanted to make him somebody who you could understand where he’s coming from, so you feel that relationship more and it’s not just somebody who turns evil to turn evil.

Tonally or from a storytelling standpoint, were there movies that served as a touchpoint for what you wanted to capture?

In ‘Dawn of the Planet of Apes’, Caesar and Koba share a common objective, yet their interpretations differ significantly. This scenario reminded me of any narrative involving siblings or friendships that deteriorate. What particularly caught my attention were movies like ‘Ben-Hur’, ‘The Ten Commandments’, or ‘Spartacus’. These are grand stories with a central relationship that experiences a breakdown midway through. Initially, the script gave off a vibe of classic good versus evil, similar to the biblical tale of Cain and Abel. This is why I turned to these older films that were both epic in scope yet deeply personal at their core.

The Michael Bay movies have created their own visual and narrative ecosystem. How consciously did you want to differentiate this reality from that one?

Indeed, the animation style of this production sets it apart significantly. Moreover, since “Transformers One” is set on another planet, we can instantly introduce diverse appearances. This freedom allows us to experiment with the visual aspects, as contrasted with live-action versions that demand everything appears 100% real. Introducing human characters into our film wouldn’t align, given our objectives. Consequently, this flexibility enables us to streamline certain elements and make the story more straightforward. During robot battles, particularly when they share similar sizes, it can be challenging to distinguish who is who. Therefore, I aimed to ensure that in our version, the colors are vibrant so you can easily identify each character right away.

Additionally, they demonstrated their approach to fight choreography, which was using motion capture to incorporate real-life fighters. However, this technique didn’t resonate with me as it resembled two individuals in costumes battling each other. Consequently, I felt compelled to explore an alternative method for our production – the ability to morph as a means of both attack and defense. I found it fascinating to ponder ways to set our film apart from anything that’s been created before.

There are some beautiful images in the film, particularly toward the end when Orion Pax is beginning to transform into Optimus Prime. How tough is it to incorporate those artistic flourishes when you’re dealing with storytelling that is meant to be for audiences of all ages?

In that film, one of my favorite scenes might even be my top pick. I completely concur with your assessment that it’s more abstract and impressionistic than other parts. During this particular scene, I felt confident enough to omit any dialogue and let the music tell the story, much like an opera. This makes the first time we hear Optimus Prime’s name all the more impactful because it stands out amidst the music.

The death of Optimus Prime in “The Transformers: The Movie” was driven by the toys. That was, at the time, a controversial decision among fans. But in intervening decades audiences have gotten more sophisticated, and so has animation. How mature or “adult” did you want to go with this?

As a movie enthusiast, I found myself discussing the visual elements and intensity of certain scenes during our chat. There were instances where the action became quite graphic, not saving these for the climax but presenting them early on. The feedback received was that such scenes might be too intense for some viewers. This was a positive development for me, as it allowed me to strategize the presentation of violence in a way that would maintain suspense while ensuring the film remained accessible to all audiences. Even in the final confrontation between the two main characters, we opted to show only what felt necessary without overstepping boundaries into excessive violence.

How much policing was there of the mythology by Hasbro to not go too far afield of the mythology that’s already known?

From the get-go, it was clear that this new installment was a fresh take on the existing narrative – a separate timeline compared to previous versions. Consequently, our primary characters, such as Optimus Prime, Megatron, Bumblebee, and Arcee, were essential inclusions. I was provided with extensive background information by Hasbro about various renditions of past events, and conducted my own research into the lore. However, it was crucial not to delve too deeply into the minute details, as the last thing needed was an overload of historical facts without emotional impact. Recognizing that the relationship between Optimus and Megatron would be the heart of the story, we asked ourselves what elements could strengthen this bond. There were no strict guidelines regarding which characters to utilize; it was all about what served the narrative best.

To what extent did this film set up a narrative trajectory that leads towards the mythology that audiences already know?

As a supporter, I’m thrilled about this origin story because it allows us to delve deeper than any film has ever done before, exploring untold territories of their background. Since they part ways at the end, it opens up a vast narrative landscape leading up to their arrival on Earth. We didn’t meticulously plot every detail that follows; instead, we focused on their breakup serving as the central arc for the story, with ample room for further development.

This interview has been edited and condensed.

2024-09-20 23:17