Duncan Jones Shares His Unique Vision of ‘Rogue Trooper’ from the 2000 AD Comics
EXCLUSIVE: The intricacies of animation can lead to significant delays. Liberty Films announced the wrap of their new project in December 2023, but as of a recent interview earlier this month, the team is still fine-tuning details. “Several people have been like, ‘Oh, I thought you’d given up on that,’” said producer Stuart Fenegan. “But we haven’t given up on it; figuring out a new way of making a CG movie takes time.”
The film marks the return of Moon director Duncan Jones, who last helmed the 2018 release Mute, a sci-fi film set in the gritty landscape of a near-future Berlin. Titled Rogue Trooper, this new project reflects Jones’s return to his indie roots and is inspired by a strip from the long-running UK comic, 2000 AD, which Jones likens to “essentially the Marvel/DC of the UK.”
Rogue Trooper presents a high-concept narrative where soldiers in the future have their skills and personalities transferred onto microchips, allowing them to be downloaded into new hosts. The protagonist, number 19, known as the Rogue Trooper (voiced by Aneurin Barnard), finds himself in a peculiar situation alongside an unusual platoon featuring Gunnar (voiced by Jack Lowden), his rifle; Bagman (Reece Shearsmith), his backpack; and Helm (Daryl McCormack), his helmet. Comedy legend Ade Edmonson also makes a cameo as a pair of boots.
Jones notes that when he first began working on the film, the realities of modern warfare were not on his mind. “It’s a much more old-fashioned version of how wars work than what is happening now for real,” he explained. This perspective reflects the long and unique development journey the film has undertaken.
‘Rogue Trooper’ Liberty Films
DEADLINE: When did you first discover 2000 AD?
DUNCAN JONES: As a child, I traveled frequently and found 2000 AD in magazine stores, often alongside English-language newspapers. I became a fan then and have loved it ever since.
They had a few flagship characters; Judge Dredd is the most notable, having appeared in several adaptations, with the most recent being Dredd [2012] starring Karl Urban, which I thought was quite entertaining. However, since then, they’ve been cautious about developing further films based on their intellectual property. Stuart and I have been persisting with them, demonstrating that we could create something they would appreciate.
DEADLINE: What specifically drew you to Rogue Trooper?
JONES: They have a treasure trove of characters that excite me, but Rogue was always the most appealing. I recall being a fan of Plato’s Republic in school, contemplating the division of the soul. I always viewed Rogue Trooper this way, through its characters—Bagman, Gunnar, and Helm. When we began making the film, I asked the authors if that idea had influenced their thinking; of course, it hadn’t! [Laughs.]
DEADLINE: The premise is quite complex, yet they form a cohesive platoon by the end.
JONES: It feels organic, like a band of brothers.
DEADLINE: Stuart, what was your perspective?
STUART FENEGAN: I entered 2000 AD and Rogue Trooper through Duncan. When we began working together, Duncan shared his enthusiasm, and I started reading the comic. He once told me how, while in film school, he approached Jason and Chris Kingsley [at Rebellion Developments] about making Rogue Trooper after they acquired the 2000 AD catalog in 2000; they suggested he make a few films first.
But as Duncan noted, it truly represents the UK’s response to comic book universes. The chance to create a British equivalent of Guardians of the Galaxy was exciting. As we launched the project, Duncan had penned a brilliant adaptation and recorded all character dialogue as a two-hour radio play.
JONES: With amusing voices.
FENEGAN: I look forward to including it as a special feature on a DVD or Blu-ray—showcasing Duncan’s voice-acting talent. It helped us clarify the project’s direction, which led us to create an animatic that visually represented our vision.
‘Rogue Trooper’ Liberty Films
DEADLINE: What was your vision for the film’s aesthetic?
JONES: The look of the film is genuinely organic and emerged through an iterative process. We started with storyboards and videos of me and my editor, Barrett Heathcote, reenacting scenes, which we then pieced together for editing. We later created animatics using Unreal Engine, aiming to develop a cohesive and visually compelling style throughout the movie.
FENEGAN: We wanted to capture the unique vibe and aesthetic of 2000 AD, which is distinct in its own right.
JONES: That was our guiding principle. If we were making a comic-book movie, it needed to feel like one. The inspiration came from a one-off 2000 AD book called War Machine, featuring beautiful watercolor-like artwork. I pushed for a similar aesthetic in the film to create a one-of-a-kind visual experience.
FENEGAN: Collaborating with Stephen Trumble from Treehouse, a unique animation company in Bournemouth, we began our work from Duncan’s radio-play audio. Using Unreal Engine for the animatic was crucial, but we were determined to avoid any resemblance to video game aesthetics, leaning into the distinct 2000 AD DNA.
JONES: Character designer Doriana Re explored the comics extensively, producing designs that struck a balance between stylized and realistic without falling into the uncanny valley often seen in video game adaptations. Our goal was to establish a theatrical animation style that remains true to the 2000 AD universe.
‘Rogue Trooper’ Liberty Films
DEADLINE: What can you tell us about the film’s technical aspects?
JONES: There isn’t a strict technical term for the process we developed, which allows us to create this animated feature as an independent British film. We quickly understood that standard motion capture wouldn’t fit our visual aspirations. We aimed for human-like representations of our blue soldiers alongside more exaggerated human forms, ensuring a balanced aesthetic.
Raw motion capture often results in animations resembling video games, which was not our goal. Thus, we directed our focus to hand-drawn animation for these characters while incorporating stunt work from a talented team for action sequences. Even then, our artists refined the animations for a more polished look.
DEADLINE: Duncan, how does your vision align with that of the comic book? Did you contribute your own creativity?
JONES: The storytelling aligns with the episodic nature of the comic, featuring diverse characters across various settings. I introduced some creative elements to original stories, blending my imagination into the project. I have a tendency to do that! [Laughs.]
In terms of visuals, we aimed to maintain the spirit of the comic’s artwork while referencing influences like Thunderbirds for oversized vehicles. This resulted in a visually striking environment that enhances the story’s narrative.
FENEGAN: From a production standpoint, the set was expansive, featuring dozens of characters. We seemed to have cast every British comedian available!
JONES: Indeed, I wanted to emphasize the British roots of Rogue Trooper. Its punk political origins in 2000 AD inspired me to incorporate as many European, particularly British, talents as possible. A few Americans are included, but the intention was to create a distinctly British independent film.
‘Rogue Trooper’ Liberty Films
DEADLINE: Is there potential for a Rogue Trooper universe?
FENEGAN: We’ve taken an adventurous approach to Rogue Trooper as an animated film, and our focus right now is on its release. However, if it succeeds, it would be fantastic to explore continued storytelling in this style and universe, especially given the wealth of characters available.
DEADLINE: Any standout characters you’d like to feature next?
JONES: There are many favorites. 2000 AD boasts an impressive library of characters that don’t conform to a standardized archetype. The stories contain fascinating, unique narratives worth exploring. Embracing the British and European roots of 2000 AD, I would love to see more British filmmakers engage with this opportunity and potentially revive a genre of British films that has yet to be fully explored. Our approach to Rogue Trooper demonstrates that we can produce compelling stories on an independent budget, paving the way for others to join us.
Rogue Trooper is being sold by Liberty Film’s Stuart Fenegan and CAA Media Finance
