Taron Egerton Slots Tetris Story into Place in New Biopic

This image released by Apple TV+ shows Taron Egerton, from left, Sofia Lebedeva and Nikita Efremov in a scene from "Tetris," premiering March 31, 2023. (Apple TV+ via AP)
This image released by Apple TV+ shows Taron Egerton, from left, Sofia Lebedeva and Nikita Efremov in a scene from "Tetris," premiering March 31, 2023. (Apple TV+ via AP)
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Taron Egerton Slots Tetris Story into Place in New Biopic

This image released by Apple TV+ shows Taron Egerton, from left, Sofia Lebedeva and Nikita Efremov in a scene from "Tetris," premiering March 31, 2023. (Apple TV+ via AP)
This image released by Apple TV+ shows Taron Egerton, from left, Sofia Lebedeva and Nikita Efremov in a scene from "Tetris," premiering March 31, 2023. (Apple TV+ via AP)

The origin story of the iconic computer game “Tetris” is more thrilling than you may think.

It involves border crossing, authority dodging, underhand deals, putting your house on the line and — finally — trying to secure the rights for the game from behind the Iron Curtain. And now it's a film, releasing March 31, on Apple TV+.

After playing an early version of Tetris, game designer Henk Rogers (played by Taron Egerton) travels to the Soviet Union in 1988 to meet Tetris designer Alexey Pajitnov (played by Nikita Efremov), hoping to secure worldwide distribution rights to the game. Rogers was driven by his love of Tetris and his eagerness for the world to experience it, but the transaction was not smooth.

Egerton says he doesn’t have the tenacity of Rogers, who potentially put his life on the line for the sake of the game.

“I have a more developed sense of my own frailty and vulnerability than he does, I think, whereas he’s got this kind of single-minded lack of, sense of self-preservation,” he said in a recent interview.

He added: “I really like his sort of single-minded, determined devil-may-care thing. It makes him an appealing hero, you know, his kind of cowboyishness. But yeah, I probably wouldn’t have done anything like what he did to get the rights to Tetris.”

The movie is directed by Jon S. Baird, who switched projects from action sequel “Kingsman 3" because of the pandemic, bringing his leading man — Egerton — and producer Matthew Vaughn along for the ride.

“We were looking for something to do and the ‘Tetris’ script landed and we thought, ‘Right, that’s great let’s just move everything on to that.’ And that’s really what happened,” he said.

While the pandemic stopped Pajitnov and Rogers from being involved in the actual shoot, the duo was involved heavily in the scriptwriting and in detailing the imagery of Soviet Russia, much of which was recreated in Aberdeen and Glasgow, Scotland.

Baird said he was apprehensive about showing Pajitnov and Rogers the finished movie but was overjoyed at their response.

“I got a text from Maya, who’s Henk’s daughter, who’s obviously personified in the film, too and she was like, ‘They all love it. They all absolutely love the movie.’”

Egerton, known to many for portraying Elton John in “Rocketman,” says he finds playing a real-life person “odd.” However, he believes that the men he has brought to the screen have all enjoyed his portrayals, smiling that “it hasn’t blown up in my face yet!”



Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
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Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File

But "Shogun", based on the 1975 novel by Australian-British writer James Clavell, broke the mould when the period drama series -- mostly in Japanese and hailed for its authenticity -- won 18 Emmy awards in September.
Other recent Japanese works have also become worldwide hits.
Franco-US-Japanese show "Drops of God", based on a manga of the same name, won best drama series at the International Emmy Awards in November.
Netflix's 2023 adaptation of the manga superhit "One Piece" -- starring Mexican actor Inaki Godoy as the lead -- was hailed by viewers and critics alike and will return for a second season.
More adaptations of major manga and anime hits are in the works, including the superhero adventures of "My Hero Academia" and the ninja escapades of "Naruto".
"Demand from Western markets is clearly increasing," said Kaori Ikeda, managing director at TIFFCOM, the content trade fair affiliated with the Tokyo International Film Festival.
But Japanese companies lack "know-how" when it comes to things like negotiating rights, she told AFP.
So TIFFCOM has organized Tokyo Story Market, a space to facilitate networking and meetings between international producers and Japanese publishers.
'Whitewashing'
Foreign studios are also getting better at avoiding some of the pitfalls of the past, such as the 2017 film version of the manga "Ghost in the Shell" starring Scarlett Johansson.
Critics accused the movie, whose main actors except Takeshi Kitano were all non-Japanese, of "whitewashing".
Similarly, the 2017 supernatural thriller "Death Note" was panned for veering too far from the original manga.
"Manga authors are highly respected and fan communities are very vigilant," said Klaus Zimmermann, producer of "Drops of God".
His adaptation takes some liberties, such as starring a French actor as one of the main characters, but Zimmermann insists it was developed in collaboration with the authors of the original manga.
"It was about finding the spirit of the manga so as not to distort it," he told AFP.
Yuki Takamatsu, a rights negotiator at the manga's publishing house Kodansha, said the process of adapting "Drops of God" was "amazing".
"Everyone was open to tackling those challenges together... At every step, everyone was understanding about how we should do it," he said.
Past failures were in part down to publishers struggling to communicate their wishes to foreign producers, who in turn lacked a proper understanding of manga and anime, Takamatsu said.
"Back just 15, 20 years ago, most of the enquiries we received from those big studios were like, hey, I know 'Dragon Ball', do you have 'Dragon Ball' IP?" Takamatsu told AFP.
"But nowadays, especially since Covid, the producers in their 30s, 40s, they watch anime together with their kids on Netflix or Amazon" and then reach out, he said.
Japanese TV goes global
Japanese broadcasters have also become "better and better (at) presenting and marketing their content" abroad, said Makito Sugiyama, executive director at the Broadcast Program Export Association of Japan (BEAJ).
This includes their participation at global events such as MIPCOM in Cannes, an annual trade show for the television industry, Sugiyama said.
Japanese broadcasters have long had success selling show concepts abroad, like the one for "America's Funniest Home Videos", known in Britain as "You've Been Framed".
Now, some Japanese dramas are also finding a wider echo abroad.
Nippon TV's original drama "Mother" became a hit thanks in part to its Turkish remake, and has been broadcast in around 50 countries.
Western viewers have overcome their initial reluctance to watch series with Asian actors, believes Masaru Akiyama, chief executive of the BEAJ.
"They have got used to it, they don't care anymore. They want to see, they want to feel the stories."
"Shogun" was "a game changer for Japan," he added, and Ikeda agrees.
"That a samurai story with such attention to historical detail can become mainstream entertainment is proof of the potential" of Japanese content, she said.