DD Press Day - Part 2!
As we promised, here's Part 2 of the DAREDEVIL press conference report - a full transcript of the worthwhile exchanges at Wednesday's press conference. Most of the really good stuff is from Duncan and Johnson, as you'll see. To check out Part 1 of our report (including a bunch of new images provided by Fox) click here.
AVI ARAD (Marvel Studios CEO and Prez): I'm very happy to be here and we're finally making our first super-human movie. Daredevil, as you know, is a regular man. A man with a heart. A man that is trying to do things right and use his humanity to win. We've been waiting to make this movie for a long time. We're getting the right team. I'll tell you a little anecdote. We were just in Japan celebrating another movie - another guy in a costume - and Sam Raimi was asked by the press, "What would be the next Marvel movie he wanted to see the most?" And without hesitation, he said, "DAREDEVIL." So, we're just very happy to be here. We have an amazing team as you can tell and we know it's going to be an amazing experience.
GARY FOSTER (Producer): Six years ago, Mark Steven Johnson came into my office and said, "There's a property available or it's going to be available called DAREDEVIL. It's my dream to make this movie" - and I'd never heard of it, to be honest. He threw a bunch of comic books on my desk and I read them and I immediately got attracted to this character because here's a guy who has a moral dilemma. There's a struggle between the divided self - his humanity. He has a handicap. It was a real person in a world that was spectacular and I think that's a unique aspect of what this genre has not done yet, which is why I think DAREDEVIL is the unique movie that'll be out next year. So, Mark has been driving for this his whole life - six years trying to get the deals done and finally got it done. He's truly the creative force behind this as the writer and the director.
MARK STEVEN JOHNSON (Writer/Director):This is something I've been wanting to do since I was about twelve years old. I've been reading the comic ever since then. It's something that's become an obsession. I started tracking down Avi and Marvel, like Gary said…many years ago. Pretty much up after the restraining order, it wasn't that bad. But Avi saw that it was something that I wanted more than anybody else could want something. This is something I've been writing for the last couple of years and pursuing for the last six years. For me, my dream was to get all of these people involved and get the movie made that I've seen in my head for such a long time. I'm just thankful to Marvel and Fox and New Regency for giving me the opportunity. I'm obviously not the obvious choice for something like this. What we're hoping to do is make something different. Make a movie that'll make a great, kick-ass superhero…at the same time, it'll have some emotion and heart to it and characters that you actually care about. That's been our goal and we'll see if it works.
Ben, you've been in love with this character long before this film. Can you comment on that?
BEN AFFLECK: Yeah, it was a comic book that was my favorite as a kid. Not as a little kid, it was kind of early adolescence into adolescence - 13 or 14. It was an enthusiasm that I shared with Kevin Smith who I got to do when we were doing Mallrats and Chasing Amy. Kevin was an avid collector of comics and had all these comic books, so he was impressed with my knowledge of the Daredevil storyline, whereas my knowledge of other comic book storylines apparently was severely lacking and he was decidedly unimpressed. So, he believed me….that I was a real fan. Ultimately, what he ended up doing was writing a series of the comics. When they later compiled them into what they call a graphic novel, he called me and said, "Do you want to write a foreward to this?" I thought that would be a really cool, fun thing, particularly since, in the comic book, he had someone talk about that "Matt Murdock had tickets to the GOOD WILL HUNTING premiere" as kind of a nod to me and Matt. I thought it was really sweet and tangentially, my name appeared in a Daredevil comic, which was pretty exciting. Anyway, I wrote the foreward and talked about how much I loved the comic and that was out there and was something these guys knew about. When they came to me about doing it, it was a no-brainer to me. Everybody has their one thing from their childhood that they really remember and affected them and moved them and this was that thing for me. So, it was really a no-brainer and I was excited to do it. It's just such an incredible cast to work with and Mark has some really exciting, interesting ideas about how he wants to shoot the movie, how he wants it to look, and how he wants it to feel and how he wants it to be different. So, it was something I was very excited about and I'm glad it's come to fruition.
Will you just tell us how the fighting choreography is working and how it's similar or different to what you've done in the past?
AFFLECK: Well, one of the things that Mark wanted and one of his influences - though I won't speak for him - but through all the movies he showed me - he showed me twenty movies and I listened to a lot of music and looked at a lot of different things - and one of the heaviest influences was anime, Japanese animation. And it has this certain look. Of course, it's all animated and to make that live-action was a really interesting idea and has a very distinct feel. The fight sequences are so important as you can see from the teaser. There is some combat. I'm not sure, but I have a feeling that's where they're going with the marketing. We've basically got a couple of guys. We've got Master Choon Yeu Jeung (no idea on spelling!! - JG), one of these guys from Hong Kong, does a lot of the wire stuff and the flips and the spectacular stuff. He's got a great team and they're doing a series of fights. We have another great guy named Jeff who does a similar, but different kind of style that incorporates smash-mouth and street fighting with kung fu and karate. So, hopefully it's something that people haven't seen before and the most pronounced aspect of that is that it's a lot of extra work. Jennifer and I were here for a couple of hours after we finished shooting last night rehearsing extra fight stuff, so it takes a lot more time than a normal movie. But when you see it all put together and looking cool and like a real fight and it's a visually spectacular one, it worthwhile. Jennifer's great. She's fabulous. She's actually better at it than I am. She has had so much training from the Alias thing and she's dancer, so she shames me every day.(laughter)
JENNIFER GARNER: The fights are different from what we do on "Alias" because they're much more specific. On Alias, I basically learn it on Sunday and shoot it on Monday or Tuesday. Ben and I have been working on this fight that we're shooting later this week for six weeks now - often three hours a day, every day of the week. We've been working really hard. There's a big difference between what we do here and what we do on "Alias." We've been taking a lot of care to make sure things are true and specific and really fun.
How long have you been getting ready for this?
GARNER: This is it. We've been preparing as we've gone along, so some of the fights, even with weapons, we literally learned on the spot and shot them on the spot.
AFFLECK: We did some training with the swords beforehand. We were both doing other things. She was doing her TV show and I was doing the movie GIGLI. So, after work I was trying to learn how to use the billyclub and she was doing the sais.
GARNER: At lunch, I was on the Disney lot spinning my sai, yeah.
AFFLECK: The choreography we learned specifically, but we've certainly been putting in time and probably started working on the very first element of this fight back in June.
Since in the movie, Daredevil is blind, what sensitivity have you taken to get into that mindset?
AFFLECK: It's a good question because it's kind of misleading. In a way, he is blind, yes . He's technically blind, but because he's able to cobble together a sort of mosaic impression of everything around him based on his heightened other senses, he is able to navigate the world. Otherwise, he wouldn't be able to do any of these things that you see. So, through smell, through hearing and through an almost evolved sense of like sonar, which will be represented in the movie by this really cool series of effects that Mark came up with….this kind of "shadow world" …he sees things. But he can't really see texture. He knows where things are, but he still has to fold his bills the way a regular blind man folds his bills so that he doesn't get a one and a five confused. He still has to read Braille to put on his clothes. So, one of the things that Mark came up with was ways to show an interesting combination of the vulnerability and the handicap, with the extra ability. But at the heart of it, he's a man. Everyone else thinks he's blind, so playing it is sort of tricky because he really can get around, but he has to actually look like a blind person. In doing that, I talked to a guy who came to the set and visited quite a bit named Tom Sullivan who is blind. He's a great skier, jumps out of planes, and does all that kind of stuff that I'm way to scared to do. He was pretty amazing and very helpful just in terms of rudimentary stuff…how to use a cane. I have these contacts that I wear because his eyes were injured and the contacts are this deep murky blue, so actually, when I wear them - I am, in fact, blind. So, the challenge is not stumbling or walking into furniture, because he wouldn't do that. He would know the furniture was there. So, it's sometimes awkward, but it's been fun.
Can you comment on what it's like to interpret a comic book character?
GARNER: It's tricky because Elektra still has to be a real person. She can't be huge in every single direction like comic book characters can be. I think Elektra was specifically written with more subtlety than you see a lot of the time.
AFFLECK: For me, being a fan of it my whole life, I basically felt like I'd read every DAREDEVIL comic book ever written, so I knew what that side of it was, but it's tricky because you run up against things in the real world, that when you're really saying it, seem silly - that don't seem silly when they're in a comic book. So you have to try to find that balance. In terms of the genre of comic book movies, this one is definitely aiming more toward a character-driven story and so the challenge is to make it honest and believable and that is just something we continue to try and tinker with. We experiment and try different things and I think Mark will continue to play with it in the editing room. But one of things in the comic book is that he's forever brooding and sulking and so on and so forth and full of rage and it's operatic in that sense. You have to modulate the degrees to which you do that, but the last thing that I want to do is betray the spirit of the books. So, I think at the end of the day, what I rely on is my barometer of would this or would this not fit into the DAREDEVIL comics that I remember from when I was a kid.
For the other actors…Michael, Jon and Joe…do you have any prior familiarity with the comic strip?
MICHAEL CLARKE DUNCAN: Well, I was very familiar with The Kingpin. When I read the comic books, that was the only person I read it for. Growing up, like I did, I never thought I'd be able to portray this guy. So, when they came to me and said I could be The Kingpin and that I get to fight, I said, "Yeah!" It was like a dream come true.
JON FAVREAU: I was in high school about the time of the Elektra saga or whatever you want to call it…the Frank Miller period…sort of when Daredevil was in his heyday and breaking new ground. I was very aware of what was going on with it, so it was a very familiar thing to me. I had met Mark Steven Johnson…we were both working on a movie called THE REPLACEMENTS…and I had run into him and he was always telling me about a pet project that he was working on. Finally, I ran into him at one point and he said, "It's going to happen and this is what it is." It wasn't what I thought. I mean, it wasn't exactly SIMON BIRCH 2, so it was a big surprise to me that this was his pet project. It's like finding that your friend is into S&M when you thought that they were just a normal banker.(laughter) Because he's totally into the nuances of the book. When I saw the script, I was really impressed and I thought, what superhero does he want me to play? And he said, "You know what, Jon? Start eating a bit more. We want you to play Foggy Nelson." Basically, I'm...how would you put it? You remember in THE MASK? Richard Jeni? I'm like that guy in this movie. I'm like the Wayne Knight character of the movie. So, on one hand, I'm really excited to be part of this great production. It looks wonderful, fantastic, but on the other hand, I feel like the butt of all jokes in the movie - so it's mixed, bittersweet feeling. But the cast is great. We're having a great time. This is my last day and it was really, really a fun ride. All these people are so gracious and nice. The most exciting part is watching Mark's dreams come true because it is so rare that you work with a director on this level who is an auteur. Usually it's a hired gun that has a song-and-dance about the material and why they have a great take on it. This is something that he grew from a seedling and to see it come into fruition in the way it has is really inspiring. I don't know if you can tell it from a press conference, but if you're on the set, you'd see that everyone is extremely inspired by Mark's leadership and by how gracious Ben and Jennifer are being.
JOE PANTOLIANO: I had no idea about the Daredevil comics. The first time we talked about it, I ran into Mark at a coffee shop and started talking about it. It sounds fascinating and after this…I'm finally going to read the script.(laughter) Again, it's always a pleasure to see the enthusiasm from all of the actors and Mark in particular. To echo what Jon just said, it's really a lot of fun. I'm having a lot of fun working on this. It's exciting to see how it's all coming together. I feel blessed to be a part of it.
Jennifer, what do you think of the Elektra costume and the changes made to it?
GARNER: Actually, Elektra has two different costumes in the comic. The one that's more well-known is the red one with the sashes and apparently nothing underneath. I have to say, I had nothing to do with changing the look. She also does where a black leather costume throughout some of the comics. The costume is not something I would choose to wear in life, but you just have to go for it. And Ben's in tights, pretty much, so it's fun! The costume designer, Jim Acheson, has done an incredible job of taking something that could be so embarrassing and making it as cool as possible. All of the superhero looks have a real hip element to them and they are not your average man-in-tights. Mine is no exception to that.
JOHN GUNN FROM JOBLO.COM: Do you guys find it difficult, since these roles are so strong, removing yourselves from the characters after a day of shooting?
I don't have any delusions about being a superhero when I go home.(laughter) I'm acutely aware of how not a superhero I am. I'm decidedly not a Daredevil kind of guy, which is what makes it fun because I get to do the kind of stuff I would never really do in life. Sometimes I feel like I can fight after the rehearsals, I feel like kind of a tough guy, but I'm quickly diffused of that when I run across Mike.
(at this point Garner and Affleck returned to the set)
ME, AGAIN: Are you developing DVD content?
JOHNSON: Yeah, we have a ton actually. Every day, I get behind-the-scenes stuff and I have an assistant who will follow around and get everything. I'm a huge DVD fan so I want to get everything. From the minute Ben showed up, you know, to get the plaster cast of his face to the first costume fitting to training to everything. We have hundreds of hours of stuff. It's also a dream of mine that hopefully we'll have a couple of different DVD versions out. We can have an R version and a PG-13 version so people will have a choice on that for the ratings.
What makes Daredevil different from other comics made into films?
ARAD: What makes Daredevil so unique and exciting and different than movies until now and most of them to come is Daredevil, unlike most of our characters, is totally human. Vulnerable, has to use what nature has given to him. He doesn't have powers, but you're going to see in this movie that our guy gets hit, our guy is always in jeopardy because he has a true handicap. That makes it very different because he's not going to do the kind of things that you'll expect from a super-creature. What we call superheroes have these unique abilities that make do something that humans cannot do. Matt Murdock is a man who is a blind lawyer. He is doing the kinds of things that take amazing human spirit, not sort a super-spirit and that's what makes him so different.
JOHNSON: And for myself, to answer that, I agree with Avi. Most important for me, because he is the only handicapped superhero, that's something I think is fantastic. What I usually feel in the movies like BLADE and a lot of the other movies that I really enjoy, I know you don't have to worry about them. You never think, "Gee, will BLADE come out of it okay?" For that reason, on page one when I wrote "Fade In" for the first time, I wrote that Daredevil is really banged up, that's he's bleeding to death. The rest of the movie is told in flashbacks.
I love the idea from the very beginning that you have to care about this guy. It forces you to be involved. That's something that I haven't seen before and baseically with all these comic book movies coming out now, you just have to find what makes it different, what makes it unique and what makes it worth watching. For me, that was always it. He's the only handicapped superhero. He somebody who needs your help. You have to care about this guy and also, of course, the idea of a lawyer who is also a vigilante. I think it's a fantastic concept, something that stands by itself.
What are you shooting right now next door?
JOHNSON: We're shooting a big ballroom scene. This is also, onec again, from Frank Miller - something similar to that with her father there. This is a scene where Matt and Elektra meet. It's very romantic, old New York-type of scene, which is interrupted by violence when The Kingpin comes down on her father.
Is Matt Murdock's dad going to play a role in the film?
JOHNSON: Oh, sure. We tell the whole origin story. The scene I just told you about where you meet him and you find him in bad shape, we actually do this cool push-in to his eye and we slowly come out of his eye and now he's 12 years old - and then you're in a Man Without Fear/Frank Miller-type story. Because we didn't have enough time to do his father as a wrestler turned boxer, I have his father as a boxer already and he's a washed-up boxer who's working for our version of The Fixer and how he gets one shot back. That's our origin story. David Keith is playing the story and he's truly terrific. He's a dead-ringer for Jack Murdock.
Where are you in the shooting?
FOSTER: We're in the home stretch. We've been shooting since the end of March and we'll finish this movie in the middle of July. The shoot is going to end up being somewhere around 70-some-odd days, so we'll finish mid-July and we'll release in February.
Jon mentioned this earlier, but we are, as a group - and Ben was very helpful in this - we're all really happy to keep this movie here in Los Angeles. You can imagine that there was a tremendous amount of pressure to take it to Canada or Australia, but for creative, financial and personal issues, we all worked really hard to keep it here and it paid off. I personally know Avi feels the same way, but I want to thank the City of Los Angeles as they've been so helpful. And the labor unions in the city have been really helpful in making it possible for us.
Are there plans for this as a franchise?
ARAD: Yes, we are already working on ELEKTRA. Obviously, when you see this movie, you'll see a DAREDEVIL 2 and possibly 3. It's a young cast and they won't be with us forever, but yes, it's absolutely the plan so for every movie we made, there are sequels. There are 40 years of stories. It's really easy to do.
For Joe…Do you like being in heavy special-effects films?
PANTOLIANO: It's more because there's so few films that I get to make that my children are able to see. Ninety percent of the work that I do, they'll have to wait until they're 18 before they can watch it. So it's great for me to be able to do these kinds of movies - excluding The Matrix, because it's too much for them to see yet, too. But, I just always like bending the rules and attacking genres and having the ability to be part of a film that has to re-invent the wheel. You do a Matrix and you want to do the next film, where DAREDEVIL is going to be showing new and important and exciting special effects and storylines. And I like take the chance and being a part of these kinds of films.
With so many supporting characters in the film, how did you make sure to make your character develop?
FAVREAU: In my case, the film is very, in keeping with the DAREDEVIL comics, you have a central character who is very conflicted and even brooding at times. Because I get to be pretty much the only funny character, I know that if I do my job, it might be a nice counter-point to what's going on the rest of the movie and a welcome reprieve from the high stakes and tension that are a part of the DAREDEVIL series. So, just being funny is probably my best insurance of staying in.
DUNCAN: When I get in my Kingpin suit, I become the Kingpin and I really am rich and famous and illegal and all of that. So for me, it's a thrill. I think that Mark has put me in there in such a way that I'm there just enough that you want to see more.
This was created in 1964, so why was Daredevil so long to get made?
ARAD: We almost made this movie seven years ago. This movie had some legal issues, too. Marvel has been around a long time and over the years I think some of us had a low opinion of films, so we made bad deals. We didn't have the right people involved in it. Basically, we were waiting patiently to be able to get control over it. Our formula is to find someone who cares about these charactesr as much as we do. That was the story between Mark and Gary. He wasn't kidding about the restraining order. I actually got one. But the idea was right. You have to want to do it. We had previous deals with other studios, but it just wasn't ready. That was the major reason. Once we were able to take it in the open, it happened very, very quickly. Once we had the director and producer on board, we went from there.
How are you dealing with the Internet on Daredevil?
ARAD: Well, we just started. Yesterday was the first time that Daredevil became officially Internet - the Fox Internet. Like all Internet, it's a curse and a blessing. It started with 50-50 of pro and con, which basically means tremendous passion. These people are watching these characters like they're living characters. They care about them. We only start with suspicion. We've been through it with X-MEN and BLADE and SPIDER-MAN…Sometimes it's a tough leap of faith to go from the comic-book pages to the big screen. Yes, you've been into the books forever and you see something change…black versus red…there are issues that have to do with production design, with cinematography, that make decisions and we try to make an homage to the books. The most important thing to do is keep the characters accurate, the same people you care for. And that's what happens with the Internet. As they get to know the characters and get deeper into it, they hear stories about the script - there's no way to stop these leaks - then they fall in love, because they feel safe again that the story that they've loved for so many years is being told correctly.
How do you feel that The Kingpin in the movie isn't exactly the same as the character in the comic?
FAVREAU: I think you could say that about all our parts. The interesting thing about the Internet is that every time somebody new is announced, you sort of get the other shoe to fall immediately - the ability to overhear a million conversations. I'm on the Internet every day checking in with certain sites, keeping track of what's going on and as soon as I became involved with this or knew that I was going to be, it was interesting to see what rumors came out and where the first rumblings were. Once each character was announced, and how everybody reacted to each character. Of course, I'm most concerned with myself …whether they're going to accept me or not. I think overwhelmingly that people understand that you can't go right down the middle. You don't want to cast on-the-nose anyway. I know when Michael was cast, everybody seemed to be surprised and at the same time thought it was totally cool. I know I didn't know for sure until I worked with him yesterday what to think, but I think the most important part of the character of Kingpin is the presence and believing that he could be in this position. And remember, you don't want to just hire some big fat guy, because the whole thing about Kingpin is that he's a powerful, strong presence - not just intellectually, not just politically, but also physically, because he actually fights hand-to-hand. Looking up at Michael on those apple boxes yesterday, he looked pretty intimidating. I can't imagine Dom DeLuise playing this role. (laughter)
Michael, any thoughts on your character and the reaction to your casting? Do you follow the internet and what people are saying?
DUNCAN: Well, I don't own a computer, so I'm pretty far behind. But, when they told me they were going to cast me as the Kingpin, I was very shocked, because I know the character is white in the books and I knew that would be the major disagreement from fans that followed these comic books religiously that they may have wanted him that character, but I guarantee you, when this movie comes out, everyone will be satisfied that I was cast as the Kingpin. I guarantee it!
Will we see a FANTASTIC FOUR movie next after this?
ARAD: I don't know if it's next year, because these things take time, but maybe the year after. We are getting there. We now have a director. Obviously, it's hard to make that kind of movie, so everybody has to be ready, willing and able, but hopefully for the year after, yes.
In the comics, the Kingpin is a Spider-Man villain and a Daredevil villain and Joe's character works at The Daily Bugle and talks to Peter Parker. Will there be crossovers between the movies?
ARAD: Technically, it's very difficult because different movies are made by different studios. It's tough to make a studio with what they have, much less what someone else has. So, we intend to keep it just as it is.
Michael…so many of your characters are larger than life. What do you do to bring out the humanity of this character?
DUNCAN: Well, the character is very close to me because as a child, I was beaten up by so-called bullies until I got a certain size. In the comic book, if you read them, Kingpin starts off where kids are picking on him because he's so fat. After awhile, they see that this guy's not only fat, but he's very agile and he starts to fight back and he starts to read kung fu books and he gets himself together and that's what happened with me. To me, the characters are so close, that it's eerie to be this guy after fantasizing for so many years.
For the actors, how do you approach such a heightened reality?
FAVREAU: This is a much more forgiving medium. Because it's such a broad canvas, you have a lot of room to have fun with it. Different styles of acting give you a little more freedom to go beyond what you normally word. I've done voiceover for cartoons and that's completely freeing with no responsibility to do anything but bring energy to it. Something like this is closer to regular acting, but it is still a comic book, so you want to stay justified in what you're doing, but you could really go out on a limb, because a lot of the humor in the comic books is a little bit - I wouldn't say broad, but definitely not as subtle as you find in some independent films that are comedies with more subtle form. So, it is very freeing because it's expected of you. They want to see something that's bigger than life in a movie like this and that's why we were all cast, that's why it's written the way it is, and that's the experience that audiences around the world are expecting, so we would be doing a disservice to the material if we didn't step up to that challenge.
Could you talk about what Colin Farrell brings to Bullseye?
FOSTER: Colin is quite a force. He's obviously a tremendous actor. He has this joie de vivre to say the least. He lives life to the fullest and he's brought that to Bullseye. I think he's had a great experience freeing himself from playing a character with an American accent. He plays it with his Irish brogue. It's like Jon was talking about, there's a little bit of a freedom for him to go big and have fun. We just completed, over the last three weeks, a fight sequence with him and Jennifer Garner on the rooftops of downtown L.A. and he was on wires flying. He did a 40-foot jump off one roof to another and he was just the happiest guy in the world. He's been a great extra added piece of energy to this movie. In fact, he's got two big sequences coming up. He and Ben have a showdown and there's another big set piece that we'll be shooting in the next few weeks. But I think Colin has really embraced this. He had never heard of the characters before, never read the comic book and after meeting with Mark and also being taken in by his passion, he's embraced it wholly and he's just been terrific.
Who are you working with on the special effects?
FOSTER: Rhythm and Hues is the company we contracted with to do the majority of the visual effects on the film. Rich Thorne is our visual effects supervisor, and we have hundreds of effects. The whole shadow-world/hyper-world…as Mark talked about the inner-vision of how Matt Murdock and Daredevil see, is mostly done with visual effects. Some of it is computer, some of it is green screen. We have a lot of work to do. When the movie wraps in four weeks, we're still going to have a tremendous amount of work to do before January.
As with X-MEN and even with SPIDER-MAN, once again the studios have gone with a more eclectic choice for a director.
FOSTER: Long story short, it's truly, if not for this guy believing that Mark had a passion and had the right sensibilities to do this movie, I don't think it would've come to fruition. There's no question…it's not a knock on the studios or a knock on Mark, faced with making a big-budget movie, you have a list of people who are the go-to people and every studio does this.
And the truth is, there was one day where Mark had to go and make it happen. He stood outside an executive's office for two hours waiting for that door to open and go inside to pitch his case. If he didn't, it may not have happened. And he did it and he waited and the executive was like, "He's standing outside my office? What am I supposed to do?" And finally let him in. And Mark did his thing, so as I said, a lot of credit goes to Avi for sticking with it and being a supporter and a lot of credit goes to Mark for not giving up, because there were plenty of opportunities for him to just fold it up and go and say, "Oh, well. I hope it turns out to be a good movie."
Michael, what do you think of the Kingpin's costume?
DUNCAN: Well, coming from being in three-and-a-half hours of make-up in PLANET OF THE APES and another hour in SCORPION KING, this is just like a breath of fresh air. I am so happy to have these suits on and can just have as little make-up as possible on. You just don't know. It's very refreshing to come to set and get dressed up in the nice suits that they had made for me and then to be able to have to fight in these suits is really like the coolest thing on earth at this point. I love it.
How Daredevil will see? How much is CGI and how much is sound design?
FOSTER: It's a combination of three things. It's the way we shot the movie, the visual effects that we put into the film and without question, for a man who doesn't see, sound design on this picture is going to be extremely important. We're working with one of the top sound designers from Lucasfilm. He's going to be taking a hiatus from them to come work for us. I think all those three things combined are going to be essential elements to the final product. The research and development has been ongoing for months on the visual effects part of it. We meet every other week on making corrections and trying new things. What if this happens? What if we try that? So, it will be a process that we continue working on up until we have to deliver.
Thanks to everyone who helped make this happen, including Fox and the cast and crew of DAREDEVIL.