In an interview with Collider in 2018, Director Wes Ball stated, “I’m not interested in doing a DreamWorks or Pixar-type movie, I’m interested in doing something closer to Planet of the Apes where you’re really gonna nail characters and show the harsh reality of what they live in.” As fortune would have it, the project that he was speaking about at the time, The Mouse Guard, ending up getting cancelled in the Fox acquisition by Disney, and in a twist of fate, he was posed the question, what might he think about taking on the Planet of the Apes franchise.
Fast forward to today, and Ball (known for his work on The Maze Runner trilogy) has confidently taken the reins of another iconic franchise with Kingdom of the Planet of the Apes, fast forwarding the franchise several centuries into the future where it is now the dominant apes that are thriving and can talk, while humans have lost the ability to communicate verbally. Almost expected with each entry into the franchise, this latest installment doesn’t disappoint in pushing the boundaries of visual storytelling, blending cutting-edge WETA effects with a new group of characters, human and ape that need to carry the franchise in the post-Caeser (previously played by Andy Serkis) universe. While viewing the film for the first time, my wife leaned over to me and asked, “Are the apes actors or is it CGI?” The fact that you can’t always tell is a testament to Ball and his VFX teams’ continued boundary-pushing efforts.
Kingdom of the Planet of the Apes introduces a fresh chapter in the storied franchise, bringing an emotional depth to its exploration of a post-apocalyptic world ruled by intelligent apes. The film stars Owen Teague as Cornelius, our new protagonist ape, who must navigate the balance between ape society’s survival and its ideological divides. Joining Teague is an ensemble cast featuring Freya Allan (Mae), Peter Macon (Raka), Eka Darville (Sylva), and Kevin Durand (Proximus Caesar).
The narrative unfolds years after Caesar’s legacy reshaped the world, with factions of apes struggling to coexist and humanity’s remnants confronting extinction. Ball’s vision ensures that the film doesn’t merely rely on its stunning effects but delivers a tale that is both epic in scope and intimate in its portrayal of identity and leadership. As alliances form and fractures deepen, Kingdom of the Planet of the Apes is a successful reboot of a franchise that feels very relevant in today’s times.
Wes Ball’s journey to this film is as compelling as the narrative itself. Ball expressed his admiration for the Apes franchise, saying, “This world has always been about telling profound human truths through the lens of extraordinary characters.” His passion for honoring the franchise’s legacy while pushing its boundaries is evident in his meticulous approach to crafting both story and spectacle. Ball also shared insights into the challenges of balancing innovation with respect for the franchise’s established tone and themes that goes back over five decades..
Wes Ball spoke with Awards Focus about his creative process, the challenges of directing a legacy franchise, and how he sought to expand the emotional and visual landscape of the Apes universe. He delved into the film’s exploration of power dynamics, the evolving definition of civilization, and the personal stakes embedded in the characters’ arcs.
Awards Focus: It’s a pleasure to meet you, Wes. My son and I watched the film together, and he loved it. He hadn’t seen the previous installments before this, but after watching your film, he immediately wanted to dive into the entire series.
Wes Ball: That’s great to hear. That was actually one of our goals—bringing in a new generation of viewers. We wanted to craft a story that could serve as a gateway for people who might not be familiar with the earlier films. I’ve had several people tell me something similar: they weren’t sure they’d like the movie, but now they’ve gone back to watch the older ones. It’s awesome to hear stories like that.
Awards Focus: This franchise spans six decades, beginning with the 1968 film. Your story connects closely to the previous trilogy but also branches out in new directions. How did you approach integrating the franchise’s legacy while crafting a fresh narrative?
Ball: It’s a big challenge because this series is unique—it’s what I’d call a “thinking person’s blockbuster.” Each film wrestles with big ideas, often about humanity. The original movie tackled themes of race, for instance. For this one, we focused on the idea of knowledge, power, and how easily groups can be swayed by rhetoric.
At the same time, the series is known for its spectacle. The first Planet of the Apes had groundbreaking makeup effects, while the last trilogy set a new bar for visual effects. We wanted to honor that legacy while introducing something fresh.
This film exists in a unique space, bridging the Caesar trilogy and the Charlton Heston-era timeline. Humanity has all but vanished, leaving room for the apes to evolve culturally and socially. That gave us a lot of creative freedom to explore a world that feels connected to the franchise but also new.
Awards Focus: How did you first become involved with the Planet of the Apes franchise? Was it pitched to you as a continuation of the trilogy or something entirely new?
Ball: It came about in an unexpected way. At the time, I was working on Mouse Guard, a fantasy epic using motion capture, with Matt Reeves as a producer. Unfortunately, that project was shelved during the Fox-Disney merger.
As I was regrouping, I got a call from Emma Watts, who I had worked with on three films. She mentioned Apes and asked if I’d be interested. Initially, I wasn’t sure. Following up the previous trilogy felt daunting. A part four didn’t sound exciting to me, and I wondered if there was even a story worth telling.
But after stepping back for a few days, I had a breakthrough. I pitched the idea of jumping far ahead in the timeline—originally, it was a 1,000-year leap, but we scaled it back to 300 years. This allowed us to stay connected to Caesar’s legacy while charting a new path. It was about imagining the apes’ evolution from the Stone Age to the Bronze Age, exploring how myths and legends form over time. That idea became the foundation for this new chapter.
Awards Focus: The visual effects in this series are incredible, but they must pose unique challenges for you as a director. What’s it like filming pivotal scenes with motion-capture actors, knowing much of the final look will be realized in post-production?
Ball: Surprisingly, we didn’t use much green screen for this film. Most of it was shot on location, which helps a lot. We had real sets, real sunlight, and natural conditions. The only difference is that instead of an ape in front of the camera, there’s someone in a motion-capture suit with a camera rig on their face. It requires a lot of imagination, for sure.
I’ve worked with WETA Digital on three films now, so I had some familiarity with the process, but this was definitely a learning curve. During production, I rely heavily on concept art and visualization to communicate my vision to the crew. Post-production is where it all comes together, and that process takes about a year and a half. It’s tricky because you make creative decisions months before you see the results. By the time visual effects shots come in, it’s often too late to make changes.
Awards Focus: Let’s face it, talking animals doesn’t always work in movies. Was this a concern for this film and how did you ensure the effect would be realistic?
Ball: If you really go back and watch those last three Caesar movies, it starts with just one word—“no”—or maybe a short sentence like “I’m home” at the end there. In the second movie, he’s speaking a bit more, and others, particularly Koba, start chiming in. By the third movie, if you really watch, Caesar is talking quite a lot.
For this film, the apes needed to talk more, especially since we’re moving toward the full-on speech of the Charlton Heston-era apes. The challenge was balancing their biology with their evolving intelligence. We spent a lot of time with the actors, finding the right vocal delivery—how much effort, for instance, should it sound like they’re putting into forming words?
Ultimately, it’s about trusting the audience to accept the premise. From what we’ve seen, most viewers forget they’re watching visual effects after the first few minutes and just go along for the ride.
Awards Focus: Is there a particular scene or sequence you’re most proud of, either for its technical complexity or how it came together onscreen?
Ball: Honestly, the whole film feels like a miracle to me. When you’re working with an entirely digital main character, every shot is a visual effects shot. Out of thousands of shots, only about 30 didn’t require effects.
One standout for me is the scene where the apes are gathered for a pivotal moment in the story. The scale of it, the performances, and the integration of the visual effects—it all came together in a way that exceeded my expectations. It’s a testament to the incredible team at Weta and everyone involved.