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During the obligatory Comic Con press line, Ender’s Game producer Roberto Orci talked to Zap2It about spoilers in the trailer, sequels, and the Orson Scott Card controversy. Asked about why this new script was the right one to finally make an Ender’s Game movie when the book had always been called unfilmable, he answered this:

I heard various pitches of the movie over the years that totally changed the ending and made it like ‘Star Wars’ in a sense, like totally like ‘and then they go and they blow up the Death Star,’ essentially. Completely changed what the intent of the book was. … We just thought audiences have seen everything nowadays. They’ve seen all the big spectacle, now they can handle this movie, and it’s still spectacle but it’s still a young protagonist in an adult situation dealing with war and peace and tolerance and all kinds of other things.

Check out the rest of the interview HERE!

Source: Zap2It


  1. Mikefulton says:

    Changing the age of the kids involved completely changes the moral tone of the movie as well as the relevance of many of the events. It doesn’t really count as “filming the unfilmable” if you so completely alter the main premise of the story.

    • While it does change the moral tone, I don’t think it changes it so drastically that people won’t be aghast at what is done to Ender. Katniss Everdeen was 16 when she went into the arena, surely what they do to Ender at 13 will be terrible as well.

      • Mikefulton says:

        It’s not just the question of what people do to Ender, it’s what Ender does to himself, and the conflicts amongst the kids themselves at Battle School. Case in point: the significance of Ender’s fight with Bonzo is drastically altered if they’re 13 instead of 6.

        Filming ENDER’S GAME with young adolescents may have been hard enough, but the label of “unfilmable” was based on the idea of filming it with 6 year olds. The movie may be great even so, but “we did it!” really should be “we did something… close.”

        • MajorAnderson says:

          I see where you are coming from, Mike, and sure, it would have been weirder if it had been little kids, but I gotta say, seeing a 13 year old kill another teenager is pretty darn disturbing for me. Equally, manipulating a 12 year old so that he is constantly encouraged to use his more violent instincts over his caring ones gives me chills, too. He is still an innocent kid. (And by the way, when Ender fought Bonzo, he wasn’t 6, he was about 10.)

          • Mikefulton says:

            You’re right. Ender was a bit shy of 10 years old when he fought Bonzo. I was originally thinking of the age when he entered Battle School and didn’t adjust.

            As to the question of manipulating the kids, that’s another thing that would have been harder to depict, in many ways, if the kids were the age they were in the book. There’s also the fact that Ender’s self-awareness and the way he responded to the attempts to manipulate him are far more impressive for a 6 or 7 year old than a teenager. With the book, the reader is amazed at Ender’s self-awareness and analytical abilities. At least, I know I was. But in the movie, with a teenage Ender it’s not quite so amazing. In fact, the older they get, the more one has to wonder, if these kids are really Earth’s finest, why aren’t more of them on the same page as Ender?

            I dunno… maybe the screenwriters have this all figured out, or maybe they’ll keep us sufficiently distracted that we won’t have time to think about it. At least not until we’re on our way home from the theatre.

    • MajorAnderson says:

      Who said that the “unfilmable” label was attached to it solely because of the age of the kids? I can think of a number of reasons to call the book that. From interviews with Card, who always said that his book was practically unfilmable, he said that because he thought that the internal perspective of Ender would not translate onto the screen, and that from the outside, Ender would appear as a violent little boy. So to make Ender likeble, to make us feel for him, without the use of constant voiceover, is probably the greatest feat, and it has as much to do with the screenplay and the camera and the music as it has with the actor’s capability to convey emotions with a look.

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