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Sunday, May 15, 2011

Green Lantern Set Visit : Ryan Reynolds Interview


By Aimee Carlson From MySpace

Back in October, I and a handful of journalists were invited to visit the New Orleans set of 'Green Lantern.' We got to talk to stars Ryan Reynolds, Mark Strong, as well as director Martin Campbell, and designers Grant Major and Ngila Dickson. Our group interview with Ryan Reynolds is below.
The best word I can think of to describe Reynolds is disarming. Disarming looks, charm, humor – he’s got his hooks in you, male or female, on all fronts. Obviously (ladies) he’s hot, but let’s get past that. He’s also a bit of a geek, incredibly earnest, and funny as hell.
His face is marked up with motion capture reference spots, but he’s in his street clothes. It’s worth mentioning not only because it’s referenced below and because it’s very much in contrast with his costar today, Mark Strong (Sinestro) who we also interviewed, in costume. More on that here.
Reynolds’ disarming charm and humor is something that both director Martin Campbell and costar Mark Strong praise the actor for bringing to the character Hal Jordan. It’s those moments of levity and humanism that ground the character, so when the switch is flipped to the fantastic, we’ll be truly taken by surprise and hopefully will feel the weight of the heightened stakes that much more.
Sitting in a room with him to talk about this movie, more than anything I got the feeling that he, jsut like everyone involved in the production really, truly believes in the movie. He loves it. Totally geeked. And you just want to go on this ride with him and Hal Jordan because if it’s half as fun as he thinks it is, well, then it’s pretty damn fun:
Q: Have you done enough press for this movie yet?
RYAN REYNOLDS: Well, not that much, you know, I mean.
Q:  I’m sure not with the publicist out in front of you!
REYNOLDS: Yeah, really, (to the publicist) Beat it.
No, not really.  I mean, we did a little in Comic-Con but, so far, it's actually been -- it's such a closed-off set, so this is actually kind of a first.  I mean, we had a group of people yesterday and today.  That's it, yeah.
Q:  So, have we caught you pre-blue screen today, mid-blue screen, or are you done?
REYNOLDS: I just like to look beautiful sometimes!
No, we're blue screen all day. I just didn't come in the motion capture suit, because I didn’t want you to laugh. I look as -- you know, about as threatening as, you know, Estelle Getty
Reynolds motion capture
Q:  So were you able to see that little kid's face after you recited the oath to him? (at Comic-Con, the most adorable kid in the whole wide world asked Reynolds to recite the oath. He did, and it was the highlight of the weekend)
REYNOLDS:  I did.  I met him backstage, too. I just wanted to shake him down to see if it was a plant!
But, no, he was the real deal, yeah. Yeah, I got to see his face -- I mean, like, you know, not to overly romanticize it, but you have that moment where, when that happens, I sort of recognize the gravity of this, and you have a real sense of the perception a kid like that has of this and how I can make good on it, and it's a pretty great feeling, yeah.
Ryan Reynolds kid
Q:  You had shot some of the movie at that point (Comic-Con), but do you feel like, since you've come back, since you had that moment, that you've kind of like had a little extra oomph because of it?
REYNOLDS:  Well, you know, yeah, I guess so. I mean, this is the first movie that I've ever done that I really feel like my nieces and nephews, they're all tracking it already. I mean, they all, you know --my nephew just -- I mean, the first thing he asked me when I was meeting on the movie was, "Can I have the ring?” I said, “Fuck no.”
Speaking of which, you want to pass this around, maybe. (He gives us his ring – it’s awesome) You guys want to check it out?  Have they showed you guys any of that?
They did, but pass it around. Yeah, it’s that stuff that, you know, I -- again, I don't want to sound sort of too corny about it, but that's the stuff that makes it all worthwhile. You know -- moments like that in Comic-Con with that kid. It just -- boy, man, you can't -- you know, I wouldn’t trade that for the world, yeah.
Q:  When you were first approached for the role, could you just talk about what you were told, what you knew about the comic and maybe how things have changed since you came into the project?
REYNOLDS: You know, I knew of The Green Lantern. I wasn't versed in it, you know, like Geoff Johns or anyone like that. I just, I mean, I knew he was an ordinary guy who was bequeathed a ring by a dying alien. It, you know, shot lasers out of it or something like that, so, beyond that, I wasn't that familiar with it, so I think I was most startled to find out how vast the universe is.
I mean, that it really does -- you know, I know Geoff Johns likened it to the Star Wars of the DC Universe, and it really does feel like that.  I mean, the scope is the thing that blew my mind. I couldn't believe it when I made that discovery, and I met Martin like I was meeting on any other movie.
I just -- you know, they were casting ‘The Green Lantern,’ and I knew that I already kind of dipped my toe in the comic book world a little bit. I mean, I -- years and years and years ago, I had played in ‘Blade Trinity,’ and then I had four minutes of ‘Dead Pool,’ and I wasn't sure if this would be the right fit or anything like that, so, you know, I was really more interested in Martin Campbell just 'cause I loved ‘Casino Royale,’ and I loved some of his other films, as well, and I had three meetings with him total. At first, they were kind of trying to convince me, and then, by the end, I was begging them for the role.
I mean, they took me up to the art department, and I met Grant Major and Ngila Dixon, and Dion Beebe was there, and then I saw the artwork, and that was it, you know, just seeing that world and seeing the possibility there and seeing how -- you know, if this were to work -- you don’t want to put the cart in front of the horse, but if this were to work, you do another movie.
And then, you know, barring that, you know, you do another one after that, and then you could see this going well beyond Hal Jordan and to the other Green Lanterns and, you know, "The Fall of Hal" and, you know, dispensing with him and then bringing on Guy Gardner or Kyle Rayner or some of those guys.
Q: Did this start with you reading a script, or did you go into the comics and explore that?
REYNOLDS: I read ‘Secret Origins’ before my meeting. That was about it. Someone slipped it to me. I don’t know if it was out yet or if they'd just started working on it or not, but, no, I didn't, you know -- 'cause I didn’t know what their plan was.
I mean, I didn’t even know if it was Hal Jordan. I just assumed by reading that, it was going to be Hal Jordan. So, yeah, I just kind of learned as I went.
Secret-Origin
Q: Talk a little bit about the character of Hal. He's sort of a classic hero. I mean he has no fear. He's a little cocky. Where's the divide of making him a man of no fear and making sure he's also not a...
REYNOLDS: We're not playing him as a fearless guy at all. Hal Jordan's -- the reason that the ring chose Hal Jordan was because he has an ability to overcomefear, and he's as baffled by this decision that these cosmic entities have made as anyone. I mean, he doesn’t understand why he was chosen. He's afraid to admit he's afraid, and that's -- you know, that's kind of his challenge throughout the film.
It's finding that footing and finding that ability to overcome it, and that's what's deep within him. That's the reason why he becomes the greatest Green Lantern of all, because fearlessness is insanity. Courage is an amazing trait. It's noble, it's, you know -- it's a virtue that everyone wants, so that's what it is that he has to find within himself.
So, he's one of those guys that is trying to be fearless when we meet him, and we realize that he's going in the exact wrong direction.
Q: If you could extend that a little bit, can you talk about maybe the difference in playing a superhero where the power doesn't necessarily come from internally, but it does come from an exterior source from the ring?
REYNOLDS: Yeah, it doesn't -- it does come internally. I mean, the power source is will and imagination, and, you know, the ring is just sort of the conduit of that. You know, it's what manifests the will and the imagination, so, you know, it is from within, and that's what I think is most interesting about the character.
It’s not necessarily the fact that he can fire things out of this ring. It's that this ring is so much more. He becomes kind of like a bio-weapon in a sense, and I thought that was very cool. I thought it was something I hadn't seen before.
Reynolds ring
Q: There's so much innovative visual effects in the design that we've looked at. Is there something that you have shot already and about to shoot that you just can’t wait to see when it's put together?
REYNOLDS: God, yeah, the first trip to Oa is something that I'm dying to see. I mean, I've seen sort of artwork on it. I've seen pre-visuals. I've seen those kinds of things, but, you know, having guys like Grant Major -- I mean, that's the smart thing, you know, any great director is also just someone who's incredibly intelligent about whom they hire around them.
So I think, you know, Martin was incredibly clever in assembling a team that is so unbelievably talented at what they do, and I think seeing whatever that's going to be, with that trip to Oa for the first time and seeing some of the other Lanterns is what's going to be really cool. I mean, God, there's so many of them, so I think we're going to have to have about 20 or 30 of them featured in the film, so--
lanterns
Q: You're going to have to stick to, basically, you know, the plot, but the one thing they can't really get into is the humor you know, that we assume that you're probably going to inject. We saw this one scene where you make this comment to this one guy about how it's impossible to watch your back.
REYNOLDS: That's a true story.
Q: So in the grand scheme of Ryan Reynolds' smart asses, where's Hal Jordan? Is he somewhere in the middle?
REYNOLDS: (laughing)
Q cont’d: Beneath Dead Pool? Way over? Or what?
REYNOLDS: Well, yeah, Dead Pool just lives for that. I mean, you know, it's just finding that tone. I mean, I always saw the guy as Han Solo crossed with Chuck Yeager. He just feels kind of like that. You know, he's the guy that -- you know, he's not funny, but he's witty, you know, and his wit is more of a self-defense mechanism than anything else.
So he's skilled at avoidance in every way, so--and anyone's who's skilled at that, and I should know, can, you know, divert, you know, somebody's focus and attention to--you know, with humor, with, like, you know, a sort of off-handed remark or something like that, so he's really good at that.  You know, he's quick with his mouth, but, you know, he's not, like, making jokes or anything like that. You know, there's no moment in the film where I feel like there's a ‘ba-dum-bum’moment. That’s just how I put it.
Q:  Well, as you meet The Green Lantern who looks like a fly or The Green Lantern who looks like whatever. Is there some comment that you've maybe made or…
REYNOLDS: Yeah, yeah, that's stuff that -- there's a lot of comments that I don’t think will be in the movie!
You know, I've always sort of -- I always try to come in with five or six options for any given moment that might be kind of funny, so I'll have, you know, five or six lines, and they can pick and choose depending on their rating.
Q: Any one you could give us that you're most proud of?
REYNOLDS: No, I don't think so. I think we best wait and see. I might get in a little trouble with that, but, yeah, there's a couple of moments with Kilowog there that he finds -- he thinks that I smell funny, and I have a response for him that aptly describes how I find his smell, so, yeah, there's -- yeah.
Q: You know, reading the script and even just seeing all the production art, you must've known a lot of this was going to be blue screen or green screen. Is it more than you thought it was going to be, and how much of this shoot so far would you say you've found yourself by yourself standing…
REYNOLDS:  Rehearsing with a tennis ball.
Q: Yeah.
REYNOLDS: A little bit. I mean, there's a fair amount of it. So much of the film takes place in space…
Q:  Right.
REYNOLDS: I don’t know what the exact percentages are, but there's a lot of blue screen, but, at the same time, a lot of flying is practical. They have these rigs that so articulate now, that you can fly in, you can land, and then, just as you're landing, you can bank off to the side and then land here instead, so there's all this stuff that you're doing that's unbelievable, you know?
It’s long flights, too.  There's really, you know, there's some -- I had some on my phone that I can show you later that are just like -- just videos of testing off the rigs, and and it's really kind of cool. So that stuff's been done a lot on the blue screen, obviously, but I was surprised at how much practical flying I was doing.
Q: Can you talk about the challenge of getting into character where you don’t have a costume, you're looking at blue walls, you've got a couple of tennis balls, and you are really out there…
REYNOLDS: Yeah.
Q: So how is that?
REYNOLDS: I mean, after 103 days of anything, you're going to be into it, I think. You know, if you're not, there's something wrong. But, you’ve got to have a lot of faith in a lot of the artwork that's around. I get a lot of examples of what I'm looking at, and that helps. You just carry that with you.
And a lot of it is just kind of knowing what direction you're supposed to be pointing and looking and that sort of thing, but, for the most part, Hollywood is a world of imagination, so, you have to really just be there and trust that they're going to do their part, when we all walk away tomorrow, you know?
Q: You were talking about scenes with Kilowog. The voice hasn't even been cast yet so is there just somebody off camera just reading?
REYNOLDS: We have a guy that is six foot eight. His thighs are bigger than my life.
He's like -- he's huge! And he's just a great reference, so he's got this big barreling voice, and I don’t even know if that's the voice they're going to use, but he's kind of a good reference. And we have a Tomar-Re, and we have some of the other lanterns that are all kind of there with me, so I'm able to talk to them and reference them, but, later on, they're going to look much different.
(note: the role of Kilowog has since been filled with Michael Clarke Duncan)
Q: Online, there have been a lot of photos from the set, a lot of interest through the online community. Your first day, you were filming at that bar thing, and, already, there were shots from that first day.  Were you aware of the interest in the franchise beforehand, or did it sort of strike you on the first day when you had the paparazzi already there?
REYNOLDS: Yeah, I think those were citizen paparazzi. I don’t think those were like the guys, you know, lurking in the bushes, but, yeah, there was a lot of interest.
I think it's -- you know, I'm interested, so I think it's just a part of being a full-time fan boy. I would be looking online once production starts to see if there was anything, a glimpse of the suit or a glimpse of something that I know from that world.
So, you know, I wasn't surprised at all. I think there was an appetite for it, but I'm shocked that we didn’t have more stuff leak out, you know? We were pretty careful around here, but there were times where we were pretty vulnerable, and we just got lucky.
Q: How much input did you get in things like the look of the suit, or your dialog? Is there anything that you got to influence?
REYNOLDS: A ton of the dialog, yeah, but the look of the suit -- there are people way more skilled than me for that. You know, Ngila, I wouldn’t mess with her on her worst day!
That's a tough lady right there, she's just got such great ideas. I don’t know what they showed you. I assume they haven't showed you the suit in motion yet, but I've seen that, and you know, once you see that, you sort of shut your mouth and let them do their job.
Q: When did you know it was going be a lot of motion capture?
REYNOLDS: Oh, I knew going in. I knew on my third meeting with Martin. Just because the suit is a biological manifestation of the ring's wearer, I knew that it is a construct, essentially, and everyone's is different, and, I couldn't imagine there would be a scenario which they'd be trying to design practical suits. It just doesn’t make sense for the mythology.
Q: What are some of your favorite science fiction stories, or movies?
REYNOLDS: Boy, number one is ‘Back to the Future.’ That's definitely up there. That's a huge one, ‘Stars Wars,’ the first three. The first three.
God, what else? I like ‘Total Recall.’ As a kid, I loved ‘Robocop.’ I thought that was pretty awesome. Off the top of my head, those are them, I suppose.
Movie-Posters
Q: Can you talk about working with Peter Sarsgaard just because we've seen some of the photos of him as Hector, and we saw a scene, and he even looked pretty creepy in what we saw. We saw the Amanda Walsh (Angela Bassett) scene where they uncover the body. Can you just talk about what he was like to work with on set?
REYNOLDS: Well, Peter's great. Peter's obviously an incredibly capable actor, but I think Peter captures the one thing that makes every great screen villain great, and that's that he just fully owns every second of it. And I think -- this is something that I think a lot of people pick up on early on that do it well, in addition to Peter, is that they understand that villains aren't intentionally evil. They have just opposing convictions. And that's all it is, and so there's no mustache twisting or any of that kind of crap. It’s borne of something very real, but kind of vulnerable, so it was tough, you know, because Peter's -- he's Hal Jordan's foe in this, but, in our mythology, they've known each other their whole lives.
And there's a lot of empathy mixed in when I look at this guy, and I think you feel that 'til the end of the movie.  THAT to me is something that Peter brought to it that was not on the page, and that's something that's so important. You know, even when we're battling, there's a regret with Hal Jordan and Green Lantern that he doesn't want to do this, you know.
Hector Hammond
Q: Your fans know that, for years, you were trying to get ‘The Flash’ off the ground, trying to play The Flash.
REYNOLDS: Yeah.
Q: Theoretically, if you ever appeared opposite another actor playing The Flash, would you be a little jealous or are you now SO Green Lantern that you've been converted that he's the best in the DC Universe?
REYNOLDS: God, if we ever did a Justice League movie, I'd have to open up with -- after he does his first line of dialog, I'd say, “Is that how you're going to do that?”
Q: ‘You know, I feel like I developed this for four years, you know…’
REYNOLDS: No, whoever they get will be fantastic, I'm sure. You know, there's too much riding on it to not. But, you know, I was partial to The Flash, but that kind of died for me with Dead Pool just because I felt like, if I did Dead Pool, I couldn't do The Flash. Just because the Flash felt like -- there's that same kind of acerbic wit, but it's more of a PG-13 version than maybe Wade Wilson. But I have no, feeling about that. The Flash is such a cool character, though. I've read the original Flash script, and I thought it was really interesting how they were tackling it, so…
Q: But, in your mind now, Green Lantern's the best of the DC crew?
REYNOLDS:  Well, now, that I'm introduced to it, of course. I mean, it's not just 'cause I'm doing it. I just kind of see -- you know, it's the scope. It's incredible. You have earth, you have space, you have fighter jets, you have aliens. You have all of these elements together in one film.
And it’s just something you haven't seen in so long, and for me, the last I have saw it done well was watching Harrison Ford playing Han Solo. I just thought that I want to be in that world, and I feel like we get to experience a bit of that with this.
Q: As far as acting touchstones are concerned there's a moment where you are perfectly human and you surprise yourself with this fist that comes out of nowhere and you're sucked up into space and taken to another planet. Where do you start to come up with your reaction for something that is so unrealistic in our universe?
REYNOLDS: There's a catalog of reactions that you could go through for something like that, but you know, you just always have to try to ground it as much as you can. I mean, the biggest asset this movie has, I think, is that it starts on earth, and, because of that, it gives us kind of a point of comparison.
It gives us that essential element that we need where we can see where we've come from and where we are now, so, if it just sort of started in space, I think that'd be a little more difficult, so you get to carry that reality into the next -- and that's what I use to inform me in all of those moments, but, you can only go through your full catalog of facial expressions before you just need a nap!
So you choose one sort of emotion in that moment, and, obviously, it's some form of disbelief and just kind of, you know…
GLCFC-00096
Q:  Do you try and draw it back to something you've actually experienced?
REYNOLDS: No, but I'm never one of those actors, you know? No.  It's always dangerous to do that, because then you've got one take where that's effective, and then, the rest, you're kind of stranded. So, you know, in a pinch, you use that, but for the most part, I don’t replace anything.
Q: Now, that you're almost done with one, do you feel fully invested and ready to do another two or three? And Geoff Johns will be killed if he talks about this stuff but has anyone talked to you about doing the larger DC Universe?
REYNOLDS: Yeah, I'll talk about this stuff!
You know, I think there's a lot to mine out of it. I mean, if you do a second and third -- but you don’t want to just say we're doing a second and third one, because the first one has to work. That's the mission, and that's the job in front of everybody.
But, the second one, I'll tell you, man, whether it's Martin Campbell directing it or somebody else, we inherit a ton of answers, and that's the biggest thing you get out of it. I mean, you know, you start work, and now, we know what Hal Jordan looks like. We know what The Green Lantern looks like, you know, so that's really exciting.
All these guys look like. How they fly, how they move, how they interact with one another. There's so many answers that the second production gets. You know, you almost feel like you get a six-month head start, and that's going to be amazing, but in terms of, like, the larger DC Universe, I'd love to see a Justice League movie.
I mean, personally, and I have talked to anybody about this, but I would love to see, you know, Geoff's DC Universe online and that kind of idea just like post-apocalyptic kind of Justice League, you know, I just thought that was really amazing, just the visuals of that, so I'd love to see something like that.
You know, I think it's a different way to go with it, too, so you can actually kind of be a little bit more creative with something like that, yeah.
Q: Most film shoots are, say, 40 to 60 days. This one is past 100 now or about 100. Can you talk about maintaining that kind of energy for that long of a shooting schedule?
REYNOLDS: Yeah, well, you train for it. You definitely train. I mean, the physicality of it, you know? I know a lot of actors yak about this ad nauseum, but it is -- in a movie like this, especially with Martin. Martin, you know, he likes it fast, ugly, brutal, real, you know, and so he's pushing people to the limits, and it's tough, you know.
It's tough. I've had a few moments where I just -- you know, you need to take a knee and just kind of call for a time out. And, I've smacked my head a lot, and that sucks. I'm starting to get to the point where I'm just nauseous now when I hit my head, and that's a weird feeling, but we're getting there.
We have another six hours of it, so it's easy to sort of, you know, look back and laugh now, but it was -- it's tough. The training that I did for the movie was -- obviously, you do a lot of stuff, but, mostly, it was functional for me. It was just so I could make it through this, with a guy like Martin. You can be mentally unhinged.
Q: What kind of misconceptions are you finding when you, you know, hear back about what Green Lantern is, or do you have no idea?
REYNOLDS: Usually, it's ‘Who's playing Kato?
I'm surprised that even, since the film’s production happened, there's so much more awareness of it that there wasn't before. It's funny, you know. It's on a lot of people's radar who otherwise didn't know much about it, so I think the filming in production and the amount of interest that that's generated has caused a lot of people to learn a bit about it.
Q: A lot of these comic book film adaptations are completely separate from the comic creators or the comic writers -- and you have fortune to have Geoff Johns on set and heavily involved in this.
REYNOLDS:  Leering over your shoulder, yes.
Q:  Can you talk a little bit about that?
REYNOLDS: Actually, it's been great, you know, 'cause Geoff's like, I would say he's like an integrity officer. He's there, he's making sure that we're doing it the right way. And this character in this universe is so interesting, that you don't need to change much.  There isn’t a lot you need to do.
I mean, there's moments that maybe depart from the traditional comic book, but the themes are all there, and the feeling is all there, and I think, even in some instances, the look is really there, so, you know, I feel like people are going to be really happy.
I don’t know if you've seen Mark Strong yet or what he looks like as Sinestro, but I got chills when I first saw him. He is the spitting image of Sinestro. He isSinestro, and it's cool to see him walk on the set. Those are amazing moments that we get to have down here, so, you know, they didn’t depart wildly for his look. I mean, he doesn't look like, a samurai or something like that you know, 'cause all these ideas are thrown out at the beginning, you know, ‘What if,’ you know, but everyone just went back to the source material.
Q: You mention Mark Strong, so, from what I can tell, he's the coolest guy in the universe. Can you talk a little bit about working with Mark Strong? He's Hal's mentor and how that relationship has been working?
REYNOLDS: Yeah, there's a great tip of the hat or a nod to, you know, what could be forthcoming from these two guys. But Mark is a very generous actor, and he's also just incredibly good in every moment.  There's never a moment where -- you know, we're talking to each other on an alien planet, and he's purple, and he has a crazy widow's peak, and, you know, there's a moment where you can catch yourself and say, this is ridiculous!
But, as soon as you start to converse with him, and you look into his eyes, it's pretty magical. You know, he's right there. He's that character, and you sink or swim. It's pretty fantastic, so they hired well. I felt like across the board, they really just did a good job of that, and Mark and I have a lot of fun working together.
But there was a great moment when we started shooting, too, which is the first time he and I kind of meet and square off, and it's a great moment. It's just one of those moments where I'm on Oa for the first time, and there's this guy, and I'm looking at him, and there's immediately a kind of unspoken friction between these two that is very watchable, and that was something that I was glad about. And that's a chemistry thing. That's something that they didn’t plan for, either.
Sinestro
Q: He's English. How is he dealing with the New Orleans weather?
REYNOLDS: My God, I keep saying that the weather report here is for actual fire.
I've never experienced anything quite like it. Yeah, I don't know. I think the locals here are having a tough time with it. I mean, it's--yeah, it's unlike anything you'll ever experience.  I mean, I've--I'm still trying to get used to it.  It's like I feel like we're shooting an entire movie inside Dick Cheney.
Q: So you were talking about, you know, this is your last day. You're understandably exhausted and tired.
REYNOLDS: Yeah.
Q: Do you take a vacation, or is it the agent's on the phone and like, "Hey, you got to go do this movie in two weeks"?
REYNOLDS: No. No, that's not a call you answer. That's a good problem to have.
I'm taking some time off. Yeah, I have to take some time off, just to stay sane. I'm very excited to be done.
Q: Is there anything in particular you're going to miss in the last six hours here? I mean, just about the experience or something like that?
REYNOLDS: Look, when you do a movie for 103 days, that crew isn't a crew. It's family. So, you know, everybody's all feeling that a little, but getting that last call sheet last night, we all wrote a little message on it, just to the crew just to say thank you, and those are tough moments, you know. You kind of fall asleep, you know, a little touch of nostalgia already, so, yeah.
Q: There's a Dead Pool, Green Lantern. There's a lot of talk you're going to be doing RIPD. What is it about the comic book world or comic book characters that draws you in, and why do you also think that the genre seems to be more popular than ever in movies?
REYNOLDS: I think that it's more popular than ever, because, well, obviously, there's an appetite for it, but, technologically, we're able to capture these elements that we couldn’t before. I mean, Green Lantern, I don't think, could've been done even two years ago. It's like just the way that they've advanced in just the emotion capture and stuff alone, let alone like the CGI elements or, you know, it’s so current, it's unbelievable.
But, RIPD, when I read RIPD, I read the script first, I didn't know it was a comic book, actually. I found out afterwards that it was. I guess it's a graphic novel or, you know, so I read that, and I thought it was pretty cool, but I don't know why. I don’t know the correlation necessarily with the comic books. I just assume that it's technology simply captured now.
Q: You’re obviously doing Dead Pool. These are probably both going to be franchises. Is there any sort of apprehension about being in too many franchises?
REYNOLDS: Yeah, oh, yeah, yeah, yeah, you don't want that. I don’t know if Dead Pool would be a franchise. It's also not a superhero movie. It's like a deconstruction of a superhero movie. It's a whole other thing, you know. The script is a nasty piece of work. I love it for that, you know, so I hope that that, whatever that is, that script as we've made it now, stays throughout production.
So we'll see, but, yeah, I don’t look at it like that. I don’t think it's necessarily a franchise. But, obviously, the studio sometimes does, but, you know, we're on for one. That's all we know.
Q: The scene that we saw after you crash, after you crater your plane the dialog is very -- it's not campy. It's very, very direct. Is the rest of the movie the tone of that is all very real?
REYNOLDS: Yeah, you know, that's something that we've done that I love. And that's obviously Martin's doing, but a lot of the moments are messy and real, and people are talking at the same time, and you have to pay attention when you're watching. So, yeah, that's definitely the tone.
I mean, there are a lot of light elements, as well, but that's just 'cause, you know, Hal has those moments where he just kind of, cracks  wise for a second. But he's a cocky kind of arrogant test pilot and, as the movie progresses, and he's bestowed this gift and this magical ring, that sort of sets him on a bit of a humbler path, a more humble path. But yeah, that's definitely -- that's the movie that you saw right there, yeah.
Blake Ryan


What do you think? Does Reynolds' enthusiasm for the movie totally sell you on it? Let us know in the comments.
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