I’ve never really used voiceover in film so there was no real way to get inside of the character in that sense. That was really hard, finding that inner voice of the character and it took me awhile to remember that it was a possible tool for these characters. You would think of these complicated ideas and it’s done. We’d be working on a scene and ask ourselves, how are we going to do this? How are we going to show it? But then we’d realize, oh, there’s the inner monologue. If you want to get inside a big character’s head, you have to somehow do that with external forces happening in an external story. The most interesting thing is in film, you have to show, not tell.
I just always found such a beautiful aesthetic there and had always wanted to be a part of all the different weirdos and original personalities that that live and end up populating beach communities. And there was always this constant force of decay on it because it had been forgotten over the years. For me, it was an amazing place to grow up. There are endless, endless stories of people who got their start there and went on to take over the world. It was probably such a fantastical sight, and it was the first amusement park in the new world. You can imagine the turn of the century immigrants coming over the horizon and seeing this glow when most hadn’t probably ever seen electricity. When most people think of immigrants coming to the United States, they think the first lights they saw were the Statue of Liberty but it was actually the 10,000 light bulbs of Luna Park in Dreamland, which were the names of the parks in Coney Island. There’s beaches in Brooklyn?” I’d say, “Yeah, it’s a big part of our culture.” It’s just not always what people think about when they think of Brooklyn. I grew up on the beaches there and it’s funny, whenever people would come and visit me who had never been to Brooklyn, they’d say, “Wait, hold on. Coney Island is a very special part of Brooklyn. In a conversation with THR, Aronofsky explains the biggest challenge in fleshing out the story, the “magical” nature of growing up in Brooklyn and Coney Island and snagging blurbs from stars Sadie Sink and Logan Lerman. But at the suggestion of a writer pal, Aronofsky and Handel shifted gears and adapted their script into a children’s novel. The fact that it arrives so close to The Whale is just coincidental as Aronofsky tells The Hollywood Reporter that it wasn’t planned that way, “it’s just serendipity.” It’s also a testament to not giving up on a good idea as the pair first tried to get the project made as a feature film several years back.
So when his friends start to think of Monster Club as a kid’s game and get more interested in other things, Eric can’t deal. But then he happens across a long-lost vial of magic ink that brings their monster drawings to life, and suddenly, Monster Club isn’t just for fun anymore. If it weren’t for Monster Club, a roleplaying game his friends created, Eric’s life would be pretty terrible.
With hungry property developers circling the wreckage, Eric’s family is falling apart from the threat of losing it all. Like almost everything in 11-year-old Eric “Doodles” King’s life, King’s Wonderland - the amusement park his great-great grandfather founded - was damaged when a hurricane hit his beloved Coney Island neighborhood. Toronto: Oscar Frontrunners Shine at Tribute Gala, 'Nope' Revived at Imax and Venice-Winning Doc Comes to Town
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