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FEATURE: LIGHTS, CAMERA, DOOM ACTION!

Silver screen screams and horrors! We hit the Doom movie set - full report inside!

15:24 It's been on-again, off-again more times than Pammy, Tommy and the Iranian nuclear program all put together - but finally, after ten years, the ultimate game-movie is coming to a screen near you. As ever, the big question on every gamer's lips is, "Have they f***ed it up?", or more likely, "Just how badly have they f***ed it up?"

It's a fair enough question. History pretty much dictates that films based on games are going to stink, pissing right in the eyes of the gamers that made the film possible in the first place and leaving the source material unconscious in a ditch. But there's always that faint hope that this will be the one to break the mould, the one that finally does justice to our memories, hopes and dreams. If you've seen the Doom trailer, that crack of hope will have opened just a little, because it looks - not too loud now - pretty good.

To be honest though, we've been expecting this, as we've had a bit of an inside track on the film's development all year. In fact, PC ZONE visited the set of Doom in Prague during principal photography and had a chat with many of the key players, including Karl Urban, Dwayne 'The Rock' Johnson, Rosamund Pike and visual FX supervisor Jon Farhat. We've been itching to tell you all about it, but a pesky international embargo has kept us gagged (until now). Finally, we can make like a bloated zombie and spill our guts (though not too much of the plot hopefully), and reveal why we think Doom could break every precedent there is for game-based movies.

IF IT'S WORTH DOING...
Admittedly, we haven't seen the finished product yet, so we could be horribly wrong here. But what we can assert with confidence is that everyone involved went into the project with the right frame of mind and the right level of respect for the wants of the fans. The script, for a start, went through at least seven major revisions before filming got under way, starting with an ultragritty first draft by first-timer David Callaham, then through the hands of producer John Wells and eventually to Wesley Strick, a big-time Hollywood script doctor who came aboard to polish the dialogue. At every step, id Software had broad approval.

"The story is very similar," says id's Todd Hollenshead. "It isn't based exactly on the Doom 3 story, but there are a lot of similarities between who the good guys are, who the bad guys are and how that all works out." Suffice it to say, the plot will be instantly recognisable, despite a few inevitable tweaks for the sake of storytelling.

MARS ATTACKS
The action takes place at a scientific research base on Mars, where a meddling scientist (called Dr Carmack, ho ho) has unwittingly opened a wormhole to 'somewhere bad'. It's not necessarily the gates of hell, but it may as well be, as the accident has unleashed a legion of imps and demons into the facility. To make matters worse, people are turning into hideous zombie mutants left and right, and nobody knows why. Answering a distress call from the stricken base, an elite Rapid Response Tactical Squad is sent in to seal off the facility and kill whatever they find inside - unless it eats them first.

Apart from the games, the inspiration here is clearly Aliens, as well as a little bit of Predator (no bad thing either way). The squad of space marines even have nicknames that could be from either of those films - Duke, Goat, Destroyer, not to forget John 'Reaper' Grimm, better known to you and me as DoomGuy.

LEADING MAN
One of the big questions throughout the development of Doom was: who would play DoomGuy? Names such as Arnie and Vin Diesel were tossed around early on, but when the project was finally green-lit it looked like the part would fall to The Rock, former People's Champion now turned serious actor. As it turns out, the brawny grappler preferred the 'Sarge' role, leaving the door open for a personable Kiwi called Karl Urban. Best known for his taciturn performance as Eomer in The Lord Of The Rings trilogy, he's also played villains in Riddick and The Bourne Supremacy, but cites Doom as the most challenging, exhausting film he's ever done. Luckily for us, he also understands the gravity of his position.

"I've got to admit I had concerns," admits the star in his thick Kiwi twang. "I was a massive, massive game fan in my college years, and I thought, I don't want to be involved with something if they're not going to do it justice. But after looking at the script and seeing the attention to character, I was convinced. Because you can't just hang this off corridors and killing zombies - there has to be more to it than that. If you don't have the story and the characters right, people are going to get bored pretty quickly. There have been examples of videogame films in the recent past that haven't got that right; we're aware of that, and we're doing everything to inject as much three-dimensionality into these characters as we can."

Urban describes John Grimm as a "thinking man's soldier". He's good at his job and gets the job done with ruthless efficiency, but is a little more introspective and cerebral than your average grunt. "I'm hoping he's going to appeal to the gamers who are not these guys who are built like brick shithouses," says Urban. "They're normal guys like you and me."

One of the other great things about the script is that it doesn't attempt to crowbar a romantic subplot into what is, essentially, a bloody and violent horror film. Perhaps to provide an equivalent emotional journey, John Grimm instead must come to terms with his estranged sister Sam - one of the scientists trapped on the base, played by former Bond-girl Rosamund Pike. The two haven't seen each other since their parents died in a scientific accident, after which John abandoned his budding scientific career and joined the space marines. When the Martian mission comes up, he volunteers to go back and, er, face his demons.

LA-DI-DA...
"Sam's the impostor, because she's not in the game," says Rosamund Pike, perhaps the poshest person ever to be associated with the name Doom. "She's the brains of the piece really. She's the insider, the person who has access to the computer files and the scientific knowledge to work out what's going on. People are turning into these creatures, but she's the one who works out why not everybody turns, and that's quite a crucial thing to the story."

For Pike, Samantha Grimm is a vital addition to the formula, balancing the overriding masculinity of the film and injecting the space marines with a bit of humanity. "She despises them and what they stand for at the beginning, but it's quite interesting how things work out."

AS BAD AS THEY WANNA BE
Another key decision made early on was to consciously go for an R-18 rating. Trying to reach a wider audience by pulling back to a PG-13 was one of the many things that ruined Aliens Vs Predator; here, luckily, the producers realised that without the right level of gibs and ultraviolence, it just wouldn't be Doom.

For Dwayne 'The Rock' Johnson, this was practically a prerequisite to his involvement. "What I love about this film is it's very unapologetic," enthuses the big man. "We pull no punches - it's rated R-plus! When I first spoke to Andrzej (Bartowiak, the director), he asked me what's important. And I said it's important to me to deliver on the sci-fi front, on the videogame enthusiast front and on the horror front. All these genres are very, very loyal. And I said with an R-rating we have the ability to really scare the shit out of people, and I think we should. And he goes 'Well we're not going to do that.' There was this long pause, and I'm thinking, shit... Then he says: 'We're going to f***ing terrify them!' That was cool to hear."

The Rock plays the character of Sarge, loosely based on Master Sergeant Kelly from Doom 3. In preparing for the role, Rock sought out some classic asshole commanders from the Hollywood backcatalogue, especially Full Metal Jacket for Lee Ermey and The Rock (funnily enough) for Ed Harrison.

"It's great," says Johnson. "I get to play what I call the BMFOP - the baddest motherf***er on the planet. I'm excited about that. He's not a bad guy as such; he's just a guy who's extremely dedicated to the Marine Corps. He believes in seeing through the orders at all costs, and if he has to kill everybody, then that's what he has to do. I admire Sarge for that."

The Rock describes the experience of making the film as like reliving a childhood dream, playing soldiers and toting around ridiculous amounts of firepower. "At one time I've got a BFG, a rifle, a handgun and I've also got this chaingun that Destroyer uses. It's basically one of the guns that's mounted on top of a Humvee, duh-duh-duh-duh (makes machine-gun noise). It's awesome, because as soon as we get off that helicopter, it's balls to the wall. I would say the first eight to ten minutes of the movie is setting up everything, and then bang, we get into it."

ALL ACTION
Towards the end of the film, the action takes on another dimension, with a breathtaking four-minute action sequence shot in first-person perspective. At this point the film achieves the most literal possible interpretation of the game, as we enter John Grimm's head and battle the Baron and other familiar hellspawn.

We spoke to VFX supervisor Jon Farhat about the sequence. "Primarily, the purpose of it is to be true to the fans. We're hoping that by the time it comes around and you're into a POV, that the audience is like, 'Yeah! THIS is Doom!' So the FPS section is really paying tribute to that and trying to take everything we know about visual FX and special FX and just pile it in there to make something non-stop. I guarantee you it will be pretty intense. It's a combination of creature effects, make-up effects, CG environments, CG creatures, live characters - everything all in one."

Having seen part of the FPS sequence being filmed, we can assure you it looks fantastic - it's a surprisingly scary effect, especially when the Baron starts beating seven shades of shit out of you/John Grimm. Like any FPS, it proves an efficient way of immersing the viewer in the action, and we're just surprised the technique has never been used to much effect in the past.

This sequence alone should satisfy gamers looking for a slice of raw Doomstyle action on the silver screen. Whether the rest of the film lives up to the legacy is another question, but what we can say is, for perhaps the first time in a videogameinspired production, the hearts and minds of the key players were in the right place. This, for us, is sufficient reason to be in the queue on October 28. No doubt we'll see you there.

Anthony Holden