About The Production
In 1989, producer Douglas
Wick became intrigued with the thought of making a movie about invisibility and
its ramifications. He explains, "At about that time, there was the
beginning of a revolution in visual effects technology, and it became clear to
me that you could now show the tracings of an invisible man like never before.
So, in addition to the universal fascination with invisibility, there was the
developing possibility of visual fireworks."
A strong, coherent story
eluded Wick until he conferred with
screenwriter Andrew W. Marlowe, fresh from the success of "Air Force
One." Like Paul Verhoeven, Marlowe was fascinated with the psychological
implications of a person with all societal constraints lifted.
Adding to his interest and
qualifications, the writer has long been fascinated by the complex world of
special effects and is a frequent visitor to the fields leading labs and
"When Andrew wrote the script, he included special effects that were not
yet possible. He wrote it anticipating that in one year we could do these
effects. He wrote on the edge, and it has really pushed the envelope."
Marlowe says of the story,
"It is an exciting morality play about a charismatic leader held in check
by society's rule. With no cliches, we see what transpires as these rules are
slowly removed, just as the layers of his body disappear."
Enthused by Andrew
Marlowes treatment, Douglas Wick sent it to director Paul Verhoeven, the noted
Dutch-born filmmaker who has created some of Hollywoods major blockbusters.
"He was the director I always wanted for "Hollow Man." The films
real challenge was not in the creation of the visual effects but in finding a
great filmmaker to actually make the effects integral to the drama. Paul is not
only a mathematician and scientist gifted in working with special effects, he is
an extraordinarily visual story teller who keeps audiences
Indeed, the films of Paul
Verhoeven invariably delight and disturb audiences. His early Dutch pictures are
a remarkable series of social, sexual and historical exploration that are by
turns bitter, cruel, funny, tragic and witty.
Verhoeven explains his
attraction to the sci-fi genre. "When I went to the United States to work,
I knew that I did not know
enough about the nuances of American culture to reflect it in film. I did not
want to have to worry about breaking rules of American society or making
mistakes because I was not aware of certain expressions or social behavior. I
felt more secure working in science-fiction."
Verhoevens Hollywood debut
was "RoboCop," a huge science fiction success. He returned to the
genre with the blockbuster "Total Recall," followed by the epic space fantasy
"Starship Troopers." He also continued to delve into the realm of
psychological thrillers with "Basic Instinct" and the erotically
charged "Showgirls," undoubtedly the highest-profile films of 1992 and
Boiling down his complex
body of work, Verhoeven says, "I take the elements of life as I see them
and put them into movies the things I love and the things I hate."
Verhoeven recalls his
initial reading of the "Hollow Man" screenplay. "The characters
were precise. The plot contained
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