For over ten years, the Splinter Cell franchise has remained dormant. While fans eagerly await the upcoming game remake, the iconic character Sam Fisher finally returns to the spotlight with the premiere of `Splinter Cell: Deathwatch` on Netflix.
Tom Caswell from GameSpot recently interviewed Derek Kolstad, the showrunner for `Deathwatch` and acclaimed creator/writer behind the first three `John Wick` movies. Their conversation covered various aspects of Splinter Cell, including respecting its origins and upholding the high bar set by Michael Ironside, the original voice of Sam Fisher.
Derek Kolstad`s Gaming Background and Splinter Cell Experience
Kolstad: I admit I`m now a very casual gamer, a change I attribute to raising eight-year-old twins and the demands of a burgeoning career. I estimate my last truly time-consuming game was `Skyrim,` though I also invested significant hours in `Diablo 3` and `4.` Growing up in the `80s, I was an avid reader and a big fan of Tom Clancy, so when `Splinter Cell` was released under Clancy`s name, I was immediately drawn to it.
Initially, I struggled, treating it like a standard shooter, failing to grasp the crucial stealth mechanics. I played the first few titles before life commitments pulled me away, but I maintained a deep affection for the character of Sam and the game itself. When the opportunity for `Deathwatch` arose, I saw it as a chance to honor Tom Clancy and the Splinter Cell legacy, which I view with immense respect.
Connecting Splinter Cell: Deathwatch to Chaos Theory and Franchise Canon
Kolstad: Adapting an intellectual property like Splinter Cell is complex, requiring consideration for three distinct groups: dedicated gamers, the general audience, and Tom Clancy enthusiasts. My initial approach was inspired by `Unforgiven` (1992) and `Old Man Logan,` treating all prior games as Sam Fisher`s established history and canon. While `Deathwatch` incorporates flashbacks and takes some narrative liberties, my priority was maintaining the core essence of the character and series.
I aimed to avoid being overly constrained by existing lore, as adaptations necessitate a degree of freedom from intricate details that can hinder storytelling. I particularly praise Liev Schreiber`s voice performance as Sam, noting how Schreiber conveys depth not just through dialogue but also through what remains unspoken, driving the character and narrative. I describe Sam`s return as a natural evolution, given the franchise`s hiatus. The series finds Sam retired and secluded on a farm, having survived against expectations, only to be drawn back into action when new challenges arrive.
Comparing Sam Fisher: Michael Ironside vs. Liev Schreiber
Kolstad: I express immense admiration for Michael Ironside, citing a memorable scene from `Starship Troopers`—where Ironside`s character coolly wipes his lips with a metal hand while observing a bug swarm—as one of his finest performances. I even had the pleasure of meeting Ironside, who appeared in my film `Nobody.` Regarding Liev Schreiber’s portrayal, I describe a unique `stability` that isn`t quite warmth, but rather a profound understanding. Schreiber’s Sam Fisher, despite his vast experience, recognizes there`s always more to learn, yet can swiftly process situations, make decisions, and operate with a clear moral compass.
I connect this to other characters I`ve developed, such as John Wick and `Nobody“s Hutch, as well as iconic figures like Rambo and John McClane. I note that these characters aren`t necessarily “the best” but possess immense willpower and, surprisingly, empathy—qualities that Liev Schreiber successfully infuses into Sam Fisher.
Kolstad`s Comfort Zone: Tackling Splinter Cell Animation
Kolstad: I reveal that while Splinter Cell aligned with my prior action-oriented projects, I had no prior experience with animation or animated series. However, the prestige of working on Splinter Cell and a Tom Clancy property eradicated any hesitation or apprehension. Instead, I felt an invigorating excitement, eager to embrace the creative challenge.
Introducing McKenna: A New Perspective on Stealth
Kolstad: McKenna was conceived as a reflection of Sam Fisher in his younger years, presenting him with a “sliding doors” moment: will she follow his path or forge her own? Sam acts not as a director, but as a guide, embodying his encouraging yet stern mentorship, often intervening sharply to protect lives. While McKenna is highly competent, her emotions frequently influence her actions, distinguishing her approach.
Sam advises her that emotions are unavoidable, but must be managed and coordinated rather than suppressed. He humorously adds that while her emotions getting *her* killed is one thing, he`d be “really pissed” if they endangered *him*. Over the series, McKenna comes to view Sam not as a father figure, but more as an adoptive uncle. Despite occasional disagreements, she recognizes the wisdom in his methods, selectively adopting some while deliberately opposing others, a dynamic I find realistic and enjoyable.
McKenna`s Future and the Splinter Cell Remake
The interviewer expresses excitement about McKenna and hopes for her appearance in future Splinter Cell games, contingent on the remake`s release.
Kolstad: Yes, exactly.
The interviewer notes that such developments might still be far off.
Kolstad: I`ll see you in another 11 years, my friend.
Derek Kolstad Reflects on the Evolution of John Wick
Kolstad: I recall a conversation with Keanu Reeves during the first `John Wick` film, where Reeves asked me how many sequels I envisioned. My immediate response was “Seven.”
I acknowledge that the franchise veered from my initial post-third film trajectory, noting that “stepping away” is a polite description of my departure. Despite this, I express deep affection for Chad Stahelski, Keanu Reeves, and Dave Leitch (who directed the first film before moving on). I find it amusing to see people watching `John Wick` on airplanes. The passing of Lance Reddick, a close friend of my family, evokes a mix of smiles and tears upon seeing his face in the films. I emphasize that `John Wick` grew into something larger than myself, a project I will always support, given it carries my grandfather`s name.
Creatively, I admit I struggled with the franchise`s increasing scale. I prefer the “intimate action” found in martial arts films like `Ip Man` or classic Jet Li movies. I contrast this with Chad Stahelski`s mastery of grander set pieces, citing inspirations like Buster Keaton`s physical comedy in `John Wick 4`s stairwell scene, or the 2D video game aesthetic evident in the film`s memorable shotgun sequence. I acknowledge I don`t conceive action in that particular way, admiring Stahelski`s vision. My own preference leans towards scenarios like John McClane fighting corrupt cops in an elevator in `Die Hard 3`, a style I enjoyed exploring with my character Hutch. Ultimately, I reflect on `John Wick` as the breakthrough success for my lifelong dream of screenwriting since age eight, and I remain genuinely thrilled and proud that it continues to be beloved.
This interview has been condensed and edited for clarity and conciseness.