Prologue:

This film is supposed to combine two of Anne Rice's Vampire Chronicles, 'The Vampire Lestat' and 'The Queen of the Damned'. However, it is quite obvious which book will be the main focus. The movie title has clearly stated this for us and, overall, little has been taken from 'The Vampire Lestat'. The script starts the same way as 'The Vampire Lestat', with Lestat explaining why he went underground, as well as his decision to rise. This is done via a lengthy voice-over and some time-passing special effects. He then ventures out to meet Satan's Night Out, and so the scene is set for his rise to super-stardom. The script then skips to the end of the novel, and incorporates the characters and events of the next book, 'The Queen of the Damned' along the way...

Obviously, many alterations have been made from the original text. Anne Rice has had absolutely no involvement with the project, and this version of the script was written by Scott Abbott, with some major reworking by Michael Petroni and the movie's director, Michael Rymer. One would assume that everyone who is involved has read the Chronicles, or at least 'The Vampire Lestat' and 'The Queen of the Damned'. However, since novels and films are two separate mediums, it was inevitable that some major changes would be made. It would be absolutely impossible to include every detail of any Chronicle in a two-hour movie, and so some aspects have be altered, or removed altogether. It is up to the film makers to decide which aspects are most important. With this power comes the ability to introduce major alterations, as is what has happened with many of the characters in this film. The character development and vampire history that is so important in both books has been lessened to make way for the main character interaction between Lestat, Jesse and Akasha. Keep in mind that not everyone who will see this film has read the book, or is even aware that the Chronicles exist! Therefore, the film makers have opted to focus on the characters rather than having a historical focus. This quickly becomes evident within the pages of the script, and major changes have been outlined in my 'Script Information' section.

Rather than an overall script review, I decided to post my comments in more detailed sections periodically. Unfortunately, I did not get time to finish my analyses. Below I have listed my thoughts and observations up to page 35. This gives some indication of the degree of changes that have been made from the novels themselves. I am familiar with the Chronicles, and so I often make references and comparisons to them. Please remember that these are all personal opinions, and it's up to you to interpret my writings as you feel fit!

Pages 1-6

These are obviously the opening sequences of the movie. If it's done right, I think these ideas could prove to be rather effective. The introduction of the journal is an interesting idea, and one immediately thinks of Claudia's journal in the novel. While Claudia will play no role in this film, I'm guessing the journal idea was re-worked into the script, and included as as a kind of substitute to 'The Vampire Lestat'. For those not familiar with the Chronicles, it is this self titled book in which Lestat wrote about his early life and adventures, and it may be that the journal symbolises this book. I think his throwing it down the chimney might imply a kind of release from the past, and a stronger focus on the future. It also opens a gateway to what this film may bring...

Another obvious difference from the novel is the new identity of Satan's Night Out! Tough Cookie has apparently been replaced by Maudy, Larry has been replaced by James, and only Alex has retained his own name. A brand new addition is Louisa. I'm not sure why the script writers would choose to change their names around unless they were thinking of making some personality alterations, which I think they have.

Personal Comparisons:

The very first line of the script reads:
"A figure stands atop a turreted roof of a French-style house, silhouetted against the moon like a large, black bird."

It is hardly surprising that these opening scenes immediately bought to mind comparisons with 'The Crow'. This film is one of my favourite movies of all time, brilliant in every way, and I guess it was inevitable that such words would result in my making comparisons between the two. To me, the similarities are quite substantial. Both movies aim to create a dark, gothic atmosphere with a mysterious, haunting being as the central figure...

Firstly, the opening voice-overs are of a similar style. In 'Queen of the Damned', Lestat explains his vampiric plight, and then continues with his decision to rise back into the world. In 'The Crow', Sara explains the plight of the undead, the significance of the crow, and ultimately provides us with the reasons for Eric Draven to return to the living...

Other similarities continue throughout these first few pages:
- Both characters emerge from their cemetery graves, clothes "in tatters", "posture bent", and thoroughly disorientated.
-Lestat is awoken by, and joins, Satan's Night Out; he then uses them to helm his plight, and expresses himself through his vocals; Eric was involved with a rock band and, when he returns to the world, once again expresses himself through his music on his electric guitar.
- Lestat's killing of the two drug dealers reminds me of the ferocious, yet ultimately justified violent struggles as Eric murders his enemies.
- When Lestat encounters Satan's Night Out, he is "perched like a raven on top of the stack of speakers" and then "drops to the floor without a sound." This is extremely reminiscent of the way Eric appears before his victims.
- Finally, it could be said that both characters are motivated to rise for the purpose of revenge. Eric's plight is solely one of revenge; he returns to act out justice on the men who killed him and his fiancÈe. Lestat rises to act out revenge against his very own kind and, in doing so, challenges them to an ultimate showdown.

People not familiar with 'The Crow' probably have no idea of what I'm putting forward here. And, of course, the characters of Lestat de Lioncourt and Eric Draven are very different. I do not intend to make any personality comparisons here. And I'm not trying to imply anything concerning the Chronicles themselves. Remember, this is all about the script, and my personal impressions of the way it reads. Some things you may agree with, some you may not. I can only hope that maybe some of my comments will get you thinking about your own interpretations of the text...

Pages 7-12

I suppose the introduction of the character of Roger Smythe was inevitable in a production such as this. He is the stereotypical, workaholic manager who is only interested in the financial gain of Satan's Night Out. He does not get caught up in any of the hype that surrounds the band, but is intently aware of it, and obviously intends to use it to his full advantage. To him, the band is nothing more than an act - a very successful act. If publicised correctly, he knows this enterprise will reap huge financial benefits, and so he concentrates entirely on achieving this. He would probably be the last person to suspect the true identity of Lestat, and so Roger Smythe is exactly the type of manager Lestat would acquire.

The arrival of Lestat and the band at Tower Records is reminiscent of any famous band arriving at a venue, particularly a so-called "teenage orientated" group. The script attempts to express the general hysteria associated with such an event. The screaming and desperate pleas of hundreds of fans are typical of this type of scene. The band members are astounded at the sight before them, while Lestat is amused by such mortal behaviour, and relishes this opportunity to shine before them.

The press conference is a bit of a worry. The dialogue is rather, dare I say, "cheesy" and definitely needs work. The script tries to depict a typical media scene, but the flirty French Journalist is a bit much, and something definitely needs to be done about that tacky Tabloid Journalist! The references to playing songs backwards (enough already!), the Pied Piper and Marilyn Manson are all typically annoying. Although, I guess these would be the type of tacky questions journalists would ask. Obviously, while the book was set in the '80's, the film makers have decided create a more recent setting. It will be the '90's, and I guess this is aimed at making the atmosphere more accessible to a younger audience. To me, the scene seems very stereotypical. Although, despite this, Lestat handles it in a somewhat tolerable way. I guess it could work, but it needs some major re-writing to make it more believable!

Pages 13-18

The introduction of Jesse seems to be a promising one. The staring dolls eye opening would be effective as we are introduced to her as a five-year-old child. Through a dream-like sequence, we discover she is the only mortal in a house full of vampires, the off-screen woman obviously being Maharet. Of course, people unfamiliar with the Chronicles will not realise this connection at first, but it becomes apparent later on.

The major alteration here is Jesse's age. In the Chronicles, she is in her 30's - a mature, middle aged woman. In this script, she is only 18-years-old. In these pages, she appears to be an intelligent young woman, indicted into the Talamasca after losing her 'parents' three years ago. She now works alongside David Talbot to whom she is very close. In these pages we discover that, as in the book, she is fascinated with the Vampire Lestat, and is determined to find out more about him...

An early rumour about this script was that Jesse was, in fact, a vampire hunter pursuing Lestat. Now, when I think of the term 'vampire hunter', I think of movies like 'Blade' and 'John Carpenter's Vampires' where people set out to kill these creatures. The idea of Jesse doing this bewildered me at first, but of course, it was all a misunderstanding. Yes, she is 'hunting' Lestat, but in an entirely different way! She seeks to understand him, not harm him!

David Talbot seems rather true-to-form. Kept at his appropriate age, he is the dignified character Chronicles fans have come to know. While he is outwardly skeptical of Jesse's findings, he inwardly knows she has discovered the truth about Lestat. After hearing of her dangerous wanderings and obvious sense of sadness, he decides to reveal to her the secrets she has longed to discover about her past...

Pages 19-25

Lestat's newfound band begins to play, and he surprises everyone with his soaring vocals. Lestat clearly enjoys toying with the mortals around him. The band is young and elated with success, but Roger Smythe is much more conservative and wary of the stranger's presence. Lestat sees this and openly taunts him. First, his embrace with Maudy, and then his amusement at Roger's symbolic cross and the garlic he now carries. Roger probably suspects something, but he isn't going to let his doubts stand in the way of his future money-making success.

David has realised that Jesse won't give up on Lestat, and so he allows her into his private chambers to view his ancient treasures. He is clearly excited in finally being able to share his findings with someone else. The paintings are made to sound exquisite. When Jesse comes upon a self-portrait of Marius, she is ecstatic with the realisation that this is the vampire that Lestat mentions in his songs. David obviously has a long-time fascination with the vampires, but has never actually seen one for certain. Jesse insists she must go to the concert to find out more. Even after his revelations, David insists that Jesse is not ready, and sends her to New Orleans instead.

Despite David's warnings, Jesse continues her nightly wanderings that very evening. She walks the London streets aimlessly before stumbling across a fallen business card advertising a 'private club'. The fleeting figures she sees scuttle away are obviously vampires, and so it's not hard to guess that the club is a vampire club. Jesse is so obsessed with her search, this only makes her more determined. One thing I find rather odd about these scenes is that Jesse is a female alone at night, and yet "there's no hiding her young legs beneath her short skirt". I know that if I were in her position, I would dress appropriately and try not to attract to much unwelcome attention. Her clothes seem to be used as a stereotypical sign that she is heading for trouble...

Pages 26-30

Jesse enters the club easily. The vampire doorman is expecting many more like her... Inside there are already several naive mortals interacting with the vampire clientele. We see a vampire girl biding her time with a yuppie male, and the stereotypical images of a male vampire seducing an unsuspecting female. Jesse wanders around as Lestat watches attentively. He seems as mysteriously drawn to her as she is to him. Could this be love at first sight? Apparently so...

After a scathing confrontation with three punk vampires, Jesse makes her way outside. But it's too late, the vampires have picked up on her vulnerability and catch her in the alley. Jesse would certainly have died if it wasn't for Lestat's rescue. He scares them off, then reveals himself to Jesse, smiling and asking who she is, but not waiting for an answer...

This is a rather strange image to behold. Lestat so strongly drawn to a unknown mortal that he saves her life? This is the very first time he's ever seen Jesse! There must be something very fascinating about her for Lestat to respond so quickly. The director will have to use some rather effective camera work to convey this. Nonetheless, this scene serves to join them. This is the first time Lestat and Jesse meet, and it establishes how far they will both go for each other on a whim. It is the beginning of their strained relationship.

The contents of this page are Vampvan's personal opinions only! I do not intend to make generalised assumptions about the script, but rather express my own views and interpretations. I hope they can help you come to your own conclusions too.