"On one hand, audiences want to be surprised, and that’s part of what makes the theatrical experience exciting. On the other hand, it can become a little over-policed, where people are anxious about engaging with anything."
"We design these films to unfold in a certain way, and we want audiences to feel those moments as intended. But at the same time, you can’t control everything. You have to focus on making something that holds up beyond the initial surprise."
Anthony R. : "He came up with this creative idea that reignited [the project], and I can’t talk about that creative idea, because it’s the basis for Doomsday, but that [idea] all of a sudden broke the skies open for us, and we saw all new kinds of possibilities with that idea. It's representative of the character in a way that the costume and the character really, really fit."
Joe R. : "Part of our challenge has always been that there’s something that we love from the comics, and there’s something that you know other fans of the comics love; sometimes those things are the same thing, sometimes they’re different things. A lot of times, what our expression in the movie ends up being is what we love most about the comics, but then what is original to our storytelling, what is brand new — because we always look at it as our job to not tell you a story that you’ve heard before, we’re never translating directly from the comics, we’re always adding a new experience that hasn’t been written yet, in terms of who these characters can be."
"But I would say Doom hits that sweet spot between being very specific and unique to the original story that happens within this film, but also delivering on what the most awesome things are about Doom in the comics. We’re back to phase zero, we’re starting over from scratch. We’re not leaning on anything from the past. It’s a completely new direction."
"You're going to see some shifting and changing in the Avengers. We understand how to tell stories with multiple characters. A lot of that has to do with very subtle POV shifts throughout the story. If Thor, when he lands, if that accidentally cuts [Sebastian] Stan’s head off. That’s how close those points of view are to each other, and that’s all very calibrated, from a protocol standpoint."
"First of all, it was a call that I was not expecting at all. And it was my very first question: 'Let's talk about the makeup process.' It is a slightly different take."
"And of course I jumped at it; I couldn't wait to do it again. It was also interesting because when I played her the first time, I didn't have ownership. At the very beginning, I had impostor syndrome. I was young. Like, I was really young, and I was like, 'Oh, maybe I was just the girl who happened to be available.' I had to audition, but I really was like, 'This is a fluke. They're about to find out that I have no business being here.' But that was just me in my youth. We've all gone through that. I didn't have that at all this time going back. I went back in with so much ownership of her this time, and that was delightful."
"Nine hours every day, yeah. I'd go in at midnight to be ready at 9 a.m., and then I would want to shoot as much as possible. I would end up shooting like maybe 15 hours, and then it would take another three or four hours to take everything off."
"So I'd work like 24 hours straight, and then I'd have to have 24 hours off in between so that my skin could breathe because underneath all those prosthetics – which was on roughly 75% of my body – there was nowhere for the sweat to go when I was doing all the action stuff. And so I would blister underneath my prosthetics, and I would have to take 24 hours off in between with healing salves."
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