Word count: 1089 | Reading time: 5 min read
20 Questions
Background: For Chris Van Allsburg, author of 14 of the most wonderfully illustrated children’s books ever, drawing was supposed to provide a mental respite from sculpting — his true vocation.
But a funny thing happened on the way to the drawing board.
Van Allsburg’s books became overwhelming hits. And it’s been years since the 45-year-old man of whimsy has taken to three-dimensional art.
The whole thing was accidental. His wife, Lisa, produced a local TV show in Providence, RI. She invited one of her guests, author and artist David Macaulay, home for dinner. Macaulay liked Van Allsburg’s work so much he urged Van Allsburg to send his drawing to editors. The rest, as they say, is history.
Deeply versed in art history — and teaching classes at the Rhode Island School of Design — Van Allsburg endows his drawings with a command of light, perspective and mood that is unmatched in children’s picture books. Two of his books —Jumanji, about what happens when two kids find a mysterious board game — and Polar Express — about a whimsical ride to Santa’s workshop — have won the prestigious Caldicott Medal.
And now Jumanji has been turned into a movie, starring Robin Williams.
Which book is your 4-year-old daughter Sophia’s favorite?
The last one I did, Bad Day at River Bend, because she helped. She also had her picture on the back. The book was inspired by my daughter’s drawings, the things she did in her coloring book.
Did you ever think that your work would find its way to the Big Screen?
I didn’t really think much about it, but I am not surprised, because I came to story telling visually. I am trained as an artist and have a tendency to think visually. My imagination led to stories that had exciting images that go with them.
What do you think of the film?
A lot of the ideas I had, not just as the author of the book, but as a consultant to the screen writing, those ideas are wonderful. There are some other ideas, not mine, that I don’t find as effective on the screen.
Such as?
It’s hard to detail them, but lots of little things. When an artist has an idea about a work of art, they are inclined to think that idea won’t be improved by anyone else’s addition. But that’s the way Hollywood films are made. Lots of ideas, lots of people involved.
Are you disappointed with the film?
Not really disappointed. Being the author of a book and waiting for the film is like a kid waiting for Santa to bring a present. You are not sure you are going to get an electric train or a piece of coal. When I saw Jumanji, it was clear I got an electric train. But not exactly the electric train I wanted.
So, is your electric train satisfying?
Yes. There is a real gratification in seeing things that are represented in the book come to life.
Were you concerned that the power and drama of your artwork would be lost in the transition to the Big Screen.
The only way the film could be faithful to my visual style is if I could get Orson Wells cinematography from Citizen Kane and shoot the picture in black and white. Those are the images that worked for me. Those aesthetics and attitudes are unique from director to director and frankly considered anachronistic. I knew there wouldn’t be wide camera angles and long moments of silence. The movie gives you more continuous action than the book.
What was your level of involvement with the film?
I was asked to produce a screenplay because the studio was dissatisfied with the first effort. They felt I had valuable ideas. So they sent me some screenplays to read.
Which ones?
Chinatown and Shampoo and I can’t remember the name of the third one right now. They didn’t send me those because they embodied qualities that should be in Jumanji, only as examples of structure, development of character through drama, dramatizing characters. They said you could not write a screen play without reading a couple in screenplay form. It’s much different than watching a film.
Was it a great leap from author/illustrator to screenwriter?
There is a tendency in artists who are successful that they can spend their currency anyway and have the same results. But in some ways, when writing that screenplay, I was going through the same process as writing a children’s book. A film is a picture story. In a film, the pictures just happen to move and talk.
Did they like your screenplay even though it was not the on they used?
They liked it a lot. The screenplay induced them to exercise their option. Until then, they were only tentatively controlling the material, they always do that, but especially with Jumanji because it was not clear that it could be a two-hour feature film.
What was the biggest change?
My idea was to have all the action take place in the house. And to have that action only be the result of having rolled the dice. In the film, the filmmakers thought action should take place outdoors, because it would get too claustrophobic otherwise. So they let the action spill outside and there is pretty intense mayhem.
What do you think of Robin Williams having a role?
He is not a character in my book. It was created in the larger film story. But it was great. He is well cast.
Will any of your other books wind up as movies?
Sure. There is some interest in other titles. Polar Express, The Widow’s Broom, Wreck of the Zephyr. Technology now provides the opportunity for filmmakers to show things never before seen. It used to be they would tell a story never heard before. Now they provide visual situations audiences have not imagined yet. You get the thrill of Jumanji with special effects skillfully knitted into the narrative structure. This is really like going to the fun house.
What’s your next challenge?
Oh, you mean that symphony I am working on. Just kidding.
Do you have any musical talent?
My music is confined to the harmonica. I pick out little tunes…
Do you play the blues?
No, I play on the chromatic harp. Show tunes.
Do you ever play out?
No, I am far too inhibited to do that. I just close the door and play.
