Recomended Media's Henry Hobson Opens XCOM's 'Bureau'

Recommended Media's Henry Hobson Opens 'The Bureau' for XCOM

Movies and videogames have had a symbiotic connection ever since Tron chucked his shiny aerobie at a digital combatant and Bob Hoskins laces up his thwomp stompers in Mario Bros, but it's only in recent years that the art of filmic storytelling has found its true place in gaming content. Coupled with this is an increased focus on expanding the narrative outside of the games themselves, with a live-action trailer being the perfect gateway.
 
The latest title to adopt this technique is the recently announced 'The Bureau: XCOM Declassified,' a period-based shooter set in the popular XCOM universe. Kept secret until the game's revelation, the setting and tone of the game were expressed through a mysterious and extremely cinematic extended commercial. Directed by Recommended Media's Henry Hobson, the film follows a kid as he cycles though his seemingly peaceful neighbourhood, before revealing clandestine and sinister figures whose intentions appear unknown. Atmospheric and intriguing, the spot instantly caught the attention of online viewers, provoking exactly the kind of speculation and excitement 2K Marin, the game's developers, were hoping for.
 
We chatted to Henry about his predilection for gaming films, the style and shooting of the piece and how he kept the secret under his hat.

 
How did you get involved with the XCOM project?
 
It was actually a sound designer friend of mine who was at Team One in LA. When he heard about the project he recommended me - a very untraditional method. 
 
This is your second film trailing a high-profile videogame. What do you think it is about you as a director that gets these companies interested?
 
I have a strong desire to tell a story in a lot of detail. I also like to show a cinematic version of the game - not to try and re-create the game but to show what it would look like if it became a movie. I think with my history of film work and telling tales at the beginning and end of films (for example my title sequence for Guy Ritchie's 'Sherlock Holmes' or Gore Verbinski's 'Rango') gives people the confidence to see that I can tell a story. 

Behind the scenes - A table is set with intriguing props

 
What was the creative process? Did you have much involvement with the story and structure of the film?
 
I actually did! The whole process was heavily collaborative, I loved their initial script, but the element that got overlooked the most was the boy. I felt that he set a mood that was mysterious and unpredictable and creating an uneasy vibe, so I expanded upon how much he should be featured to become a bigger part. I also pushed for the story to become non-linear, telling three stories in tandem rather than separately - the boy, the editor and the agent - so when they all come together in the editor's room it's a little more intriguing. Unusually for America, I was also involved in the whole post process. 
 
Internet 'fanboys' are a notoriously difficult audience to please. How do you go about getting them on side? I think we saw a few Easter Eggs in there.
 
Yes I love that process. With all of my projects, be they video game trailers or film title sequences, there are little hidden messages and easter eggs. This one has over 20, from a very subtle yet creepy alien in the opening shot (that I don't think anyone has spotted yet), to a telephone number on a phone that you can actually call up. Growing up I used to obsess about details like that and get very excited when I felt like I had discovered something that other people might have missed, so I'm always keen to add little secrets. 

Behind the scenes.

 
From what we understand, the title itself was pretty secretive. Did you feel a lot of pressure to keep the job under your hat?
 
Incredibly so, but all the projects I work on have me sign long, exhaustive Non Disclosure Agreements, so I'm used to it. Whether it's a triple-A film project or a video game, it's really important to understand that secrecy is incredibly important in the age of instant communication. 
 
Did you encounter any problems in the shoot and edit?
 
The shoot was filled with fun problems. Locations dropping out at the last minute meant mad rushes around town to find the perfect replacement. The biggest problem was the amount that needed to be shot, 4 locations in 2x10 hour days was incredibly ambitious, but my DP Adam Kimmel helped keep our pace fast without compromising any of the visuals. 

Behind the scenes - The edit booth was snagged from Hitchcock.

 
How would you categorise a film like this? An ad? A short? Is it a form you prefer to work in?
 
It's a long-form commercial, I think. Whatever it is, it's a fun one to work in - being able to tell a story and showing a new world in a new way is incredibly exciting. We did a fun 15 second cut down of this that felt very eerie, so I think even with interesting storytelling you can do it in a very short amount of time. 
 
Are you happy with the response now it's launched?
 
Yeah, on YouTube the video ended up being the 8th most viewed 'thing' on the site in the first weekend, beating out nearly all the cute cat videos. Plus I love the YouTube comments - I got sent "whoever directed this needs to die" by Glaastix85 
 
What's up next?

I have a title sequence for a big summer blockbuster film which I cannot talk about. Alongside that I am directing my first feature, starring Chloe Moretz.

Posted on 14th May 2013