The rest, as they say, was history, with Huggins forging a successful career in IMAX and family films, whilst continuing a very hands on role in the raising of her two kids. With her IMAX expertise involving a lot of 3-D, the success of Spy Kids 3-D provided the impetus for Huggins to have a tilt at bringing the ever-advancing 3-D technology to mainstream theaters, and audiences.
Around this same time, Huggins became aware of Walden’s development of a new adaptation of the Jules Verne classic novel, Journey to the Center of the Earth. “I went over to Walden,” recalls Huggins, “and sat down with Carey Granat, who is the head of Walden Media, and said to Cary that we should amp (his) Journey to the Center of the Earth project up by making it 3-D.”
Granat embraced the idea, and Huggins embarked on the task of moving the massive project through development hell, Walden-style. A process she says was excruciating, but ultimately worth it. “It took two years from that day to get a greenlight on the movie. (Walden) were relentless. The project died at least two deaths, and rose from the ashes (each time). Making expensive 3-D family films is really tough. People don’t want to do that, for exactly the reason Audience Alliance exists. You are dealing with the buyer, the studio, and it’s not necessarily what they want to make.”
But with the conviction to quality family entertainment that movie lovers have come to expect, Walden pressed forward amid criticism of their old-fashioned storyline and clichéd values, releasing Journey 3-D across America July 11, to great acclaim – and solid business.
Opening it’s first weekend with $21 million at the box office may appear tiny compared to some of the huge openers this season, but the context of limited numbers of 3-D compatible theaters – about 2800 in total – makes the result irresistible. But it is the second weekend frame that augurs so well for Walden’s 16th feature, with more than half of it’s receipts coming from week two, a sure sign that with all of the distractions of the last few weeks of Summer vacation, families will continue to show strong support for this new-breed of underworld drama.
Huggins says the results are vindication of hers, and Walden’s, ever-present desire to make content her kids can enjoy. “It sounds maybe corny, certainly in the world I live in, (but making movies with my kids innocence in mind) is 100% of what I do. I really don’t entertain projects that they wouldn’t like, or...be attracted to.” And in finding suitably attractive projects, Huggins employs a simple formula.
“My mission statement, if you will…is to make entertainment that appeals to the good in people. Very simple.” A mission Huggins maintains, revolves around strong stories, where intentions are as important as actions.
“I like stories where people aren’t evil. I believe you can have drama and tension, and hopes and fears, wins and losses, highs and lows, without being evil, without being hateful. Forget this language and sexual content, and drug use and alcohol, smoking…Forget all those things…those (if only) moments. (And) it’s beyond just this stuff that people don’t even need to do. It’s having people be good to each other. Even when you are trying to be good you can go wrong. That’s different. You can try to be good and hurt someone, and that makes for interesting drama.”
Sentiments, says Huggins, once again borne out by Journey, it’s story, and financial performance. “We’ve got so much criticism for being ‘old-fashioned’, (been) repeatedly derogatorily called like a ‘50’s Disney movie’, and I think to myself, ‘well, good. I can live with that.’ But I think all they mean by that is that nobody is mean (in the film). It’s an action movie, but nobody’s mean to each other. They don’t always agree with each other, but nobody’s out to ‘get’ the other person. And there’s no bad guy. It’s very weird to have a movie doing as well as it is doing where there is no actual antagonist. The environment is the antagonist. That’s extremely rare.”
The production experience also reflected a decency that is not commonly found on many Hollywood sets, but when found, has an amazing impact on the culture of the production. According to Huggins, it is a tone that starts at the top and bears fruit quickly. “The minute you set the tone: This isn’t a set where people are screaming, this isn’t a set where rudeness and craziness is acceptable. (Then) everybody starts opening the door for each other, and everybody steps out of line to let the other get in front of them (etc.). As soon as you set that tone, it’s pervasive, and there is such relief (for everyone).”
But with $43 million in ticket sales under it’s belt at the time of publication, only 10 days out from release, in one of the most competitive summer seasons on record, Huggins believes it may very well be a formula for success other filmmakers are prepared to take notice of. “If we can establish a financial model for making movies that are, ‘old-fashioned’…and Journey can go out and, knock-on-wood, make 60, 70, 80 million bucks…guess what’ll happen? Lots of those movies will start being made.”
It’s a formula Huggins feels extremely satisfied at having had some small role in perfecting. “As a mom, as a person, as a daughter…I had a part in making a movie that everybody can watch. That’s a great feeling, And I feel like I can’t be alone…there must be other people out there like me.”
There sure are, Charlotte!
By Brett Stringer
