As a seasoned producer with decades of experience under my belt, I can attest to the ever-evolving landscape of our beloved film industry. The days of extravagant budgets and lengthy production schedules are largely behind us, replaced by a need for efficiency and creative ingenuity. In the case of Beetlejuice 2, we embraced this new reality wholeheartedly.
Tommy Harper often receives unexpected phone calls. Sometimes, it could be Tom Cruise and Joseph Kosinski inquiring about the logistics of shooting Top Gun: Maverick with real fighter jets. On other occasions, J.J. Abrams might call, seeking guidance on transporting a large crew for a Star Wars film to a secluded island in Ireland. There are even instances where Tim Burton requests his assistance in planning an eccentric musical sequence for the movie Beetlejuice Beetlejuice.
Harper remarks, ‘That’s a mystery I need to unravel,’ she says. ‘I enjoy getting those calls.’
Just as the characters from the films he’s involved with are accustomed to exploring uncharted realms, Harper takes great pride in achieving the final objective of immersing the viewers so deeply that they forget their surroundings for a span of approximately two hours in a movie theater.
Originally from Arroyo Grande, California, this individual started his career in the entertainment industry as a production assistant on popular ’90s films like ‘Liar, Liar’. After gaining valuable experience, he moved up to the position of assistant director, working on close to two dozen movies. His first collaborations with Tim Burton were on ‘Big Fish’, and with J.J. Abrams, it was ‘Mission: Impossible III’.
During his journey, he additionally assumed additional responsibilities, which eventually led him to the role of production, where he observed momentous shifts and milestones in the cinematic history of the franchise films.
He served as the cast member in the film “Star Trek Into Darkness” when J.J. Abrams privately informed him with surprising news: he would be directing the next “Star Wars” movie, and Abrams wanted him to join as an executive producer. Following the blockbuster success of “Star Wars: The Force Awakens,” which grossed over $2 billion, he temporarily stepped away to manage Abrams’ Bad Robot as the COO, before moving into independent producing, with his first project being the $1.493 billion-grossing “Maverick.
His recent work, titled “Beetlejuice Beetlejuice“, follows a long-standing partnership with Burton, whom he became acquainted with through his wife who worked as costume designer Colleen Atwood for Burton. This film, similar to Maverick, has been released 36 years after the original, and it received positive reviews at Venice last week, anticipating one of the highest September openings ever this weekend.
Given its modest $100 million budget by blockbuster standards, the film’s achievement is truly noteworthy. As for today’s movie-making landscape, he explains that we can’t afford to make films with huge budgets and instead need to produce them more economically while also approaching them in unique ways.
Read the his full conversation with The Hollywood Reporter below.
One of your most significant experiences as an assistant director was working on Mission: Impossible III, a project that brought both Tom Cruise and J.J. Abrams into your professional circle. How has this affected your viewpoint regarding the entertainment industry?
The third film I worked on marked my first foray into globe-trotting productions, hopping from one country to another, occasionally taking breaks during travel. It was during this time that a lightbulb went off in my head: “I’m moving into production. I know precisely what I want to achieve.” This opportunity allowed me to delve deeper and take on more responsibilities than usual, preparing various countries for filming and collaborating with the stunt team to sort out logistics.
So, you had desire to transition to the producing side. What were the next steps?
Over a meal at a restaurant, I bumped into JJ, who suggested we team up for a Trek project. He asked if I’d be interested in an assistant director role, but I shared my ambition to move beyond AD work and produce films one day. Surprisingly, he offered me the chance to production manage this movie, despite the movie’s budget. Impressed by his determination, JJ made some calls, and before long, I was on board as an assistant director. I soon transitioned into managing the second unit and offering support on the main unit as a production manager. Eventually, I found myself stepping up to producing roles after that exciting experience.
Were people in Hollywood uncertain about whether Star Trek would succeed? At what point did you feel like everything was starting to come together?
I found it quite exciting, especially on the Kelvin set. During rehearsals, Chris Hemsworth emerged from one of the transport bays and made his way onto the bridge. At that moment, JJ was seated there with a steady cam operator, capturing footage. I couldn’t help but think, “This is really fascinating.
Was it incorrect to assume that when Jeremy Renner joined as co-producer on Mission: Impossible – Ghost Protocol, he was expected to eventually replace Tom Cruise? After all, some people speculated this at the time due to the age difference. However, upon reflection, it seems this wasn’t part of the plan.
(Laughs.) No, it wasn’t. We never thought that. And Renner’s awesome.
In other words, we’re talking about the beginning of an impressive publicity move, the high-profile stunt associated with the Mission films, specifically Tom scaling the Burj Khalifa. Could you share your thoughts on how this was executed from your point of view?
We traveled to Dubai and found ourselves needing to remove multiple windows due to the design of the structure. Removing a window on one side necessitated removing windows on the other to maintain the building’s stability, or risk causing further damage. It was incredibly challenging. We constructed a smaller-scale replica in Los Angeles on a soundstage, and later in Prague. This miniature version had only a few floors. For months, Tom underwent extensive rehearsals on these simulated buildings. When we finally reached the actual building, we were setting up equipment and testing it. We completed our work in Prague, and Tom requested to film his scenes immediately instead of waiting for the scheduled afternoon shoot. So, we began shooting right away.
What was one of the most exhilarating events in the series timeline for you? I’m referring to when JJ Went from Star Trek to Star Wars. Can you share how you discovered you were off to explore a distant galaxy?
Previously, we were filming “Into Darkness” at Bad Robot, when JJ and I were conversing in the upstairs kitchen. Suddenly, he asked me, “By the way, have you had a chat with Kathy [Kennedy]? Is everything okay?” I was puzzled, thinking I might have missed something. He then inquired, “Have we met already?” To which I replied, “What are you referring to? I’m working on the next Mission [Rogue Nation].” He seemed surprised and clarified, “I know you’ve been scouting locations, but no.
And he took me aside. Nothing had leaked out. He’s like, “I’m going to direct the next Star Wars movie. I want you to produce it, and so you need to meet with Kathy now. It’s all going to happen tomorrow. My deal’s going to close, and then we’re going to release a statement, and you’ve got to get up to Lucasfilm and meet Kathy as soon as you can.” I was speechless for the rest of the night trying to finish our little shoot that we were doing. And I remember going home to my wife going, “I think everything’s going to change pretty quickly.”
Under intense circumstances, it seemed almost as challenging as reimagining Star Trek. Yet, you wonder how we met that deadline. From what I recall, the agreement was finalized, and the film was released approximately 2.5 years afterwards.
The process of completing Star Trek and preparing Star Wars for production proved to be an incredibly swift journey, with a 16-month timeframe from his agreement until we began filming. During that time, we were simultaneously constructing a fresh Star Wars universe and designing sets while JJ was penning the script.
I recall spending my evenings delving into the making-of stories about the original Star Wars films, which George Lucas penned. I found it thoroughly captivating. However, I had to halt my reading as the narrative reached the chaotic scenes during A New Hope. R2-D2 was malfunctioning in the desert, and the sandcrawlers were proving troublesome. It seemed like a whirlwind of tension at every turn. Piecing together all the intricate details proved quite challenging.
Was Episode VIII ever a possibility for you?
Speaking as a fan, Kathy and I were discussing my potential move to VIII, and we had reached a stage where our discussions were quite serious. Simultaneously, while talking with Kathy, JJ approached me and proposed, “I urgently need someone to assist in managing my company, and I want you for the job.” This proposition presented a significant dilemma. I turned to Kathy, sharing my predicament, “I’ve got this opportunity that I believe aligns well with my career goals, and I’d like to explore it by joining a company and learning the ropes from within.” Kathy showed incredible understanding, replying, “I completely get where you’re coming from.” Consequently, I accepted the offer and spent a couple of rewarding years at Bad Robot. The experience was exhilarating, and it offered me something entirely fresh and different.
How did the transition from Bad Robot to independent producer happen?
When my contract ended, Tom reached out and asked if I had any new plans since I’d become a free agent. He mentioned that he was considering working on another “Top Gun” with Jerry Bruckheimer. I met with Jerry for a brief conversation, during which he inquired about my relationship with Kathy. I told him that Kathy and I communicated daily, collaborating on the project as partners. His response was positive, and that was the end of our meeting.
Thirty-six years apart, Tim Burton is coming out with Beetlejuice 3 (the sequel to the original), and Tom Cruise has released Top Gun: Maverick. Was there any similarity in their feelings when it came to revisiting these iconic roles from their careers?
Tom expressed that they were aiming to create a movie that was remarkably similar to their initial one, as Tim needed to maintain his original approach. The two of them seemed to be in perfect sync with their similarities. Tom further explained that they were crafting an exceptional film by including elements that would satisfy the audience. This is also applicable to ‘Beetlejuice’, where they have sandworms, are in the Afterlife, and are in a waiting room. They don’t do it just for the fans; instead, they follow the storyline that guides their work.
Which of Tom Cruise or Tim Burton, when they call about their films, tends to keep you on the line for a longer period of time?
Hey there! It turns out Tim’s quite swift. We spent quite a bit of time discussing details and other specifics between us. If you’re planning on chatting with Tim, be prepared – that conversation could last longer than just a couple of minutes; it might even stretch into an extended discussion.
Over the years, Tim has significantly grown. However, for this film project, the budget was reduced. As a producer, is there a sense that you could have benefited from having more resources at your disposal?
In recent times, the film industry has undergone a transformation. We can no longer produce movies with vast budgets; instead, we must create them more economically and innovatively. For instance, when I was working on Lucasfilm’s ‘Willow’, we had ample resources at our disposal. However, when we moved on to ‘Wednesday’, resource constraints were apparent, and we had to shoot it in Romania to stay within budget. Surprisingly, this situation turned out to be a blessing because we fell in love with the country. Tim and I scouted locations together and identified them all within three days. Tim emphasized that we needed to work on a tight schedule and within a limited budget. Our production facilities were somewhat rundown, but they had a certain charm and uniqueness that made us feel like we were there strictly to make the movie.
On Wednesday, the show became one of Netflix’s largest ever. You carried that same approach to Beetlejuice 2.
As a gamer, let me tell you about our initial discussions: “Alright, we’re not talking about recreating our Wednesday gameplay, but this time with fewer resources, tight deadlines, and a smaller budget. We’re aiming for something different than the typical $150-$160 million blockbuster. Instead, we’re shooting for under $100 million. It was a challenging 48 days, but it felt exhilarating. He seems excited to get back to his roots and old-school style.
Was Jenna Ortega cast in Beetlejuice when her career was skyrocketing towards stardom on a Wednesday?
Simultaneously, Tim attended the premiere while we were discussing the script, trying to determine the ideal moment for its execution. Impulsively, I told Tim, “Since you’re here, let’s have a meeting.” She joined the meeting, and he suggested, “I’m working on this new project and there’s a role that might interest you.” He then handed her the script, to which she replied, “What’s ‘Blue Hawaii’?” To which he corrected, “Oh, it’s ‘Beetlejuice.'” She recounted how she had to stop her car along the roadside to read the script all the way home.
It appears that you’re involved with the long-awaited fourth Star Trek film, which has just secured a new scriptwriter. Similarly, Top Gun 3 is being worked on by a writer as well. However, I suspect both projects are still far from the starting point?
Absolutely, there are quite a few elements that need to fall into place. The essence is, you expect everything to coalesce smoothly, but often it takes considerable time and effort to make things work harmoniously. For instance, when someone asks, “Hey, remember the project we were working on two years ago? How’s it coming along?” You might respond, “Well, progress takes time.” Sometimes, unforeseen challenges arise, like Beetlejuice in a movie production. Once Tim Burton decides to move forward with a project, things can seem to happen rapidly – from shooting to release – but for him, it’s been nearly three decades since the idea was first conceived. In other words, what appears swift to us is actually the culmination of years of planning and preparation for him.
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2024-09-06 23:26