Tobias Forge discusses the hurdles faced in bringing a Ghost’s vision to life on the big screen with “Rite Here Rite Now.”

Tobias Forge, the mastermind behind Ghost, has candidly shared the complexities involved in translating the band’s theatrical essence into their latest cinematic venture, “Rite Here Rite Now.” The concert film seamlessly blends electrifying footage from Ghost’s 2023 performances at California’s Inglewood Forum with a fictional narrative continuing the saga of Papa Emeritus IV. Released to critical acclaim worldwide last week, the film has been praised for its innovative approach and meticulous execution.

In an exclusive interview with Metal Hammer’s Paul Brannigan, Forge delves into the challenges encountered during the project’s development, reflecting on how closely the final product aligns with his initial creative vision.

“It’s never, you know, 100%,” Forge admits, “but pretty damn close. A lot of things that I think scared people in meetings a year ago, are things that I know that we pulled off. As an artist, people want you to dream big, but I always try to come up with things that are actually doable.”

Forge acknowledges that every aspect of Ghost’s artistic endeavours, including the creation of “Rite Here Rite Now,” is fraught with difficulty and expense. Despite these challenges, he expresses satisfaction with the film’s outcome, remarking on its entertainment value and uniqueness within the genre.

“Everything with Ghost is difficult and expensive,” Forge asserts. “But the records are getting closer to what I imagine, and this film turned out pretty close to what I envisioned. When I see the film, even I look at the show and go, ‘That’s pretty entertaining, that’s pretty cool.’ This is a film that you have not seen before.”

The process of securing support and resources from film studios proved to be another obstacle for Forge and his team. He criticizes the industry’s preference for safe, commercially viable projects over innovative concepts that challenge conventional storytelling.

“A lot of film studios sometimes struggle to comprehend something that isn’t mainstream,” Forge explains. “Like, it’s not uncommon that you might want to make a film about, say, a historical event, and they would be, like, ‘Hmmm, it’s really depressing that the boat sinks in the end. Can it not do that?’ And you’re like, ‘Well, no, the story is about these two lovers that meet on the sinking boat, and yeah, he dies in the end.’ ‘But that’s so depressing! Can we make a different ending?’ ‘Er, No.’ ‘Well, we don’t want to pay for that.’ That’s the sort of shit you’re up against.”

Despite these industry challenges, “Rite Here Rite Now” has been embraced by fans and critics alike, solidifying Ghost’s reputation for pushing creative boundaries in both music and visual storytelling.

Analysis:

Political Perspective: From a political standpoint, Forge’s comments on the film industry highlight broader issues of artistic freedom and commercial pressures. His critique of studios favouring safe bets over creative risks reflects tensions within the entertainment sector, where profitability often dictates production decisions.

Social Perspective: Socially, “Rite Here Rite Now” underscores the growing significance of immersive fan experiences in music and cinema. Ghost’s ability to captivate audiences through theatrical performances resonates with a global fan base seeking more than traditional concert footage, reinforcing the trend towards multimedia entertainment experiences.

Economic Perspective: Economically, Forge’s remarks shed light on the financial realities of producing high-concept projects like “Rite Here Rite Now.” The investment required to realize Ghost’s vision underscores the financial risks involved in creative endeavours that prioritize artistic integrity and innovation over guaranteed commercial success.