Hollow: Pablo Schreiber talks about The Master Chief, ‘Helmet Acting’ and more | Internet series

After years of stunting in growth, one of the most loved video games of all time, the nine-episode series Paramount + (weekly streaming episodes a week on Voot Select in India has been declining since March 24). Set in the 26th century, the masterpiece of the science fiction epic masterpiece follows an elite Spartan soldier who, with agreement, leads the current war of the human race – the ruthless alien race. For those unfamiliar, you do not need to know much beyond the fact that there is a villain in a cool suit with guns going against a crowd of ugly alien invaders. (Adam Project Review: Ryan Reynolds in a Convenient Time Travel Movie)

But the journey of the iconic game for its direct-action adaptation is a bumpy one. Like many Hollywood projects of this size, Hollow has done many iterations with everyone who has been involved in the program for many years, from Neil Blomcomb to Guillermo del Toro to DP Weiss of Game of Thrones. But it’s finally here, in the hands of co – creators Kyle Gillan and Steven Kane and star Pablo Schreiber, who plays the iconic master chief, along with a wide range of actors including Natasha McLean, Jen Taylor and our own Shabana Azmi.

Through Zoom, star Pablo Schreiber spoke to me about the biggest challenges in reviving this world, liking Hollywood from game adaptations and the art of helmet acting.

Edited excerpts:

We are incredibly excited to finally get the Halo adaptation we deserve. What is your most realistic moment in being a Master Chief? Is there a specific moment when you can not believe it?

I remember very well the first day the Spartans brought all four of them out in costume to show off their team. For most pre-production they keep the costumes hidden, so a lot of the crew don’t see them. We were filming in Budapest, and that day they lined up the entire crew – which is close to a thousand people any day – and some of them have been working on the show in Budapest for 3-4 years. As they marched outside of me, when I saw the faces of all of them from inside my helmet, I could feel the excitement of seeing the clothes for the first time. It was really amazing.

There are many elements that bring this show to life. The game has an enormous legacy, trying to impress those audiences and bring in new audiences, of course there is size, rich universe and massive action. What would you say is the hardest part about bringing Hollow to the screen?

It is very difficult to say what the hard part is because, as you pointed out, there are many challenges. When you deal with such a universe with such vast and imaginary myths and legends, there are many elements to it. If this is deep science fiction set in the 26th century and all weapons and technology are considered the technology of the future, they will all shape the world. Every element of it is world-building and it was created for a very different experience video game than a TV show. So, change all those elements and make sure we do justice to the gaming community, that is always the first priority – to get the world right for the fans. Then bring in a new audience and make sure it is told in the world of high quality valuable television. We live in the heyday of TV, there are so many options in so many services, you have to make sure that whatever story you are involved in attracts the audience. It all needs to be felt real and personal. So, there were many challenges, but it was really magical to attend the SXSW event in Austin and watch it with an audience made up of Hollow fans. At the end of the screening, people were crying and it was a very powerful experience.

Speaking of costume, for most of the show you will be in the suit, behind the helmet. Performances like Mondlorian have proven that we can feel a character that we rarely see. What do you call the best “helmet acting” and the art of making people feel?

I do not know if there is a particular secret in wearing a helmet, I think it increases the specific need of the body. When the audience does not approach your face they read a lot about everything you do, and they begin to bring their own feelings and explanations to things. This is almost a gift because the audience reads more about what you do when you are in the suite, and that uniqueness becomes important. Every body language you use should indicate something and suggest something.

Wood will do the hollow stream in the exam.
Wood will do the hollow stream in the exam.

One thing that Hollywood has always struggled with for years is to understand what people want from a game adaptation. Whether it does justice to the world, the story and the characters or tries to recreate the feel of the game. What would you say the game adaptation should be?

I have no formula for that and I know that the key is to be decisive in your choices. There are a million more comments. This is one thing I learned in the beginning – there are so many opinions in the halo community, so, there will be a lot of disagreements and there are going to be many who do not realize that you understand it properly. what are you doing. Noise is a big part of not being discouraged. Take what you can from people’s reactions, but you have to be decisive and follow your own instincts.

You have to give the audience something unique in a long format TV series. That area was also important. Adaptations are usually movies, and when you only have 90 minutes to tell the story, you’re incredibly limited by the depth of the storytelling, so in my opinion a longer format TV is the best place for video game adaptations, especially like Halo. Myth and History.

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