You mentioned you were a recovering TV director. Can you compare making a TV episode with making a feature film?

I could go on and on. It's partly television versus film, but it's also my experience, HBO versus Marvel. I've been sort of spoiled on the TV end, because HBO is small. It feels like a small institution, feels like we're making independent movies. There's respect for director's contribution in a way that mainstream television doesn't really reflect, I don't think. And Marvel, I came expecting the worst. I had a friend who had done a big, studio movie that was also a sequel and he e-mailed me at one point and said, "You have no idea. Nobody here gives a flying F what I think about it." [Laughs] So, I kind of came in braced for that, but it's been very, very different. Marvel, in its weird way, also is a small group, a small institution, so it's like you're making an independent movie that just happens to cost multi-millions of dollars. But it's a handful of people in a room, making the decisions. So that creative process is not that different. You're dealing intimately with the people that you're making the movie with. I haven't quite adjusted to the fact that they respect the director more in movies. I'm still used to deferring to… somebody [laughs]. And so it's been liberating and fun to have more fun than I'm used to, but at the same time, this is a huge ocean liner. And learning when you can and can't turn the ocean liner...

That's scary.

Scary is a good word for it [laughs]. Stressful. I have discovered new layers of stress I never knew existed. At the same time, the cast was wonderful. The crew was wonderful. I cannot complain about how I have been handled by Marvel. But, yeah, stress, absolutely. There is a Marvel process where the script is sort of the last thing that you get. Where I come from, a writer-driven medium, the script is the first thing you get, and then you get to do all of your directing after that. In this one, they seemed pretty comfortable with the script being the last thing to fall into place. So that's been the source of stress.

This movie is being released in 3D, correct?

Yeah. So we hear. I was walking to set, and the PA was reading something on their iPad. And, "oh, look, Disney says..." No, when I was getting involved I did not want to get into 3D. I'd seen some 3D things that made me unhappy and on the one side was the negatives with not being happy with what I'd seen, but on the positives were that I had been through a brief course with Sony and got really excited about the language that 3D can speak and realized that I would have to learn a lot to speak that language.

So when I came into this movie, it was very much a 2D movie, and I was kind of relieved that I wasn't going to have to speak a different language I hadn't learned yet. Partway through the process, as I guess is common – it was decided mostly for financial reasons. Markets are constantly being read to see what things are gonna pay off. So I think the decision was made that it was a good idea to do 3D. So we heard that partway through, and we are aware of it now. I am not radically changing the way I'm shooting it.

We'll see [laughs]. I mean, I think we have wonderful imagery. I think that's one of the great things about the Marvel universe is it gives you a chance to play with big, wonderful imagery, which hopefully will be a pleasure in 3D. But we aren't throwing spears at the camera any more than we were before. We'll see what happens.

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