PD: How did the story of Scion 2 evolve from the first film?
CT: Well the first Scion is predicated on one very simple premise: can this small group of people keep the human race alive? And the film then ends with a very definitive crisis that makes that task much more difficult. But the door is still open. And so instead of focusing on this group of humans, we wanted to make the shift to exploring Agora and see if Phoebe can find her footing there. While the image of the mass slaughter might stick in some people's minds, Scion actually ends with an act of compassion and we wanted to show the ripple of effects that that act would have. I'll speak with John in that I think we both looked forward to building a world distinct from Earth and this sequel really allowed us to do that.
PD: You've collaborated with three different writers now (with John Malone on Scion and Scion 2, APJ on Mortal Kombat and with Mo Buck on an upcoming film). What has that process been like?
CT: Well I've now worked on multiple projects with each of those writers so I'd say it has went really well. I don't want to act like some trailblazer but it was definitely breaking norms when I approached APJ and John respectively about co-writing projects. I've always seen the value in it because my goal as a writer is to write the best film possible and I don't care if I need help to do that (or if someone needs my help to make their project better). There have been multiple times when I have an idea that I know is great but have some mental block preventing me from being able to flesh it out. And that is why I love the co-writing process because it helps in unlocking the potential that some projects will struggle to reach if only approached by one narrow-minded writer.
PD: Are there other writers you would like to collaborate with in the future?
CT: Off the top of my head, I think my style would mesh well with Lon Charles. Despite flashy projects like Scion and Booster Gold, most of my filmography is more grounded in the drama genre. I've always appreciated Lon's ability to locate compelling true stories and adapting them into compelling films - and he's a better casting director than I am!
PD:You made your directorial debut last season. Do you have any plans to direct more in the future?
CT:Part of doing Somewhere, Somehow was proving to myself that I could do something like that. Step out of my comfort zone and utilize everything I had learned during my many hours on set for LRF films. It was exhausting and stressful and I was so relieved when post-production wrapped. Plus there are so many great directors out there right now that I am still dying to work with. But I think I will do it again in the future. I still don't want to overreach my abilities and so I still want to do a smaller film. At this point, I am circling an original project about a tumultuous period in the life of a social media starlet that I feel would be up my alley. But I've got a lot of other projects I am still wanting to finish in the meantime so it will be a while until that sees the light of day.
PD: What's next for you?
CT:Now that I have two projects out of the way in the early part of the season, I will not be seen again until Calamity in Round 7. Mo Buck is one of the hardest working (and busiest) men in show business and I'm glad I was able to find a way into his schedule and work on this film. Other than that, I have a few more smaller dramatic films in the foreseeable future. Next season comes Justice League International, a film I hope we can make live up to the hype. And speaking of superheroes, I've set my sights on writing a script based on a superhero I created when I was a young kid. I'll admit, it is weird writing about a hero with no source material for guidance. But I also hope I can utilize that creative freedom to make a name just as memorable as the others.
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