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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 companies.

Verhoeven recalls, "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 spellbound."

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 1995, respectively.

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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