NEW YORK — The film industry frequently faces unpredictable weather, crew overtime, and diminishing daylight during shoots. However, one production faced a truly unique challenge: the possibility of cast members teetering over the edge of a blimp. This unusual situation arose while filming “Grand Theft Hamlet,” a documentary centered around British actors Sam Crane and Mark Oosterveen, who decided to stage a version of “Hamlet” within the chaotic landscape of “Grand Theft Auto” during the pandemic lockdown. While Shakespeare may not have envisioned a python wreaking havoc in a bar or Hamlet contemplating existence atop a helipad, this adaptation presents a fitting backdrop for a play rife with mortality.
According to writer and director Pinny Grylls, who collaborated on the project with her husband Crane, their venture into this digital realm had its own historical resonance. “When Sam first recited some Shakespeare in that environment, he compared it to Shakespeare’s Globe Theater, where audiences would throw apples if they weren’t impressed,” she recalls. “In this space, although people aren’t watching closely, they are occasionally pausing to absorb the poetry.”
Scheduled for release by Mubi in theaters come January, “Grand Theft Hamlet” kicks off with Crane and Oosterveen’s avatars fleeing from law enforcement before crashing into an outdoor theater. One of the characters exclaims excitedly, “I wonder if you could stage something here?” This idea of marrying the theatrical with the virtual isn’t limited to them; numerous filmmakers are venturing into online spaces, intrigued by the potential for storytelling in these new frontiers.
For example, in “The Remarkable Life of Ibelin,” which launched on Netflix this past Friday, director Benjamin Ree explores the life of Mats Steen, a Norwegian gamer confined to a wheelchair due to Duchenne muscular dystrophy. Ree utilizes “World of Warcraft” to recreate both Steen’s real and virtual lives, shedding light on the impact of gaming as a form of connection in his story.
Similarly, “Knit’s Island,” available on Metrograph at Home, is primarily set within the survival-based game DayZ. The filmmakers adopted PRESS badges for their avatars, striving to interview high-kill players while evading danger. One filmmaker humorously implores, “Don’t shoot! I’m a documentarist!” Their shared goal is to delve into the surreal spaces of these games to explore meaningful human connections that exist within them.
As Grylls points out, filmmakers are increasingly eager to capture the essence of contemporary life. “Many people are now living in virtual gaming environments,” she notes. “As filmmakers, our role is to reflect what’s happening in these spaces back to the world.”
With the gaming industry becoming a colossal force in entertainment — often eclipsing film, television, and music combined — the boundaries between cinematic and gaming experiences have continued to blur. This fusion is particularly evident in smaller films known as machinima, which creatively utilize gaming engines to tell unique narratives. However, “The Remarkable Life of Ibelin,” “Grand Theft Hamlet,” and “Knit’s Island” represent pioneering efforts to integrate virtual experiences with traditional cinema.
“We’re on the brink of something new,” Grylls shares, expressing excitement about being part of the evolution in filmmaking. Ree, who was profoundly moved by Steen’s story, realized the importance of illustrating it through “World of Warcraft.” Following Steen’s death in 2014, his parents were taken aback by the outpouring of tributes on social media, honoring Steen’s avatar, Ibelin Redmoore, known to many in the gaming community.
To effectively depict Steen’s journey, Ree turned to a host of archived texts, which he used to animate Ibelin’s vibrant life inside the game. In this virtual world, Steen, through Ibelin, experienced significant moments, including his first kiss. Although not a gamer himself, Ree collaborated with dedicated gaming fans to recreate a captivating visual narrative.
The team spent three years crafting animated scenes of Steen’s experiences, fine-tuning their work to ensure it captured the essence of gaming without feeling jarring. After sharing drafts with Steen’s friends, their response affirmed the film’s authenticity, noting, “This is exactly how we remember Ibelin.”
Only as the project neared completion did Ree make contact with Blizzard Entertainment, the creators of “World of Warcraft.” He nervously traveled to California for a screening, feeling the weight of expectation. The response was emotional, with executives expressing their deep appreciation for the film and granting the necessary rights for completion.
Virtual space offered the freedom to create in an unprecedented way. The creators of “Grand Theft Hamlet” realized they had a billion-dollar budget at their disposal, leading to a unique interpretation of the classic play that included elements like the iconic car from “Back to the Future” and even a cargo plane. Through innovative storytelling, these filmmakers are charting a new course in cinema that could redefine the relationship between traditional narratives and the immersive worlds of video games.