The thing about owls is that they do sort of have this facial disc, which is unlike any other bird. They kind of have a face, more than like a dog or a giraffe. They have this weird, alien face that you can actually make expressive.
People have a very proprietary relationship with Superman. It’s important to respect the iconography and the canon, but at the same time, you have to tell a story.
I felt like, in the recent past, people have been apologizing for Superman, a little bit, for his costume, for his origins, and for the way he fits into society.
It’s more like Christmas, you know, when you get a shot in that looks great and it’s exactly what you want. It’s a great feeling, and there’s nothing like it.
The problem is, when you’re making an animated movie, the studio has an illusion in their minds – and it’s really not true – that because it’s a drawing, it can be changed at any time.
Origin stories are really important to me. I just like that sort of stuff and I feel like it makes a lot of sense to the guys, who they are. If you don’t have that stuff, it’s kind of a one dimensional version of it.
I think that when you see the trailer [on movie “300”] – my feeling is anyway and maybe I’m not objective because I live it – but I think when you see it you immediately go, ‘Okay, this is another sort of way of doing this.’
I believe that pop culture is just, like, so ready for ‘Watchmen.’ We tried so hard to ride that wave between satire and reality, and all the things that make you still care about the character, but you don’t miss the commentary about them.
For whatever reason I was always obsessed with the potential of humanity’s physicality. Especially since we grew up with such a non-physical philosophy.
I always say, I’m certain I changed ‘Watchmen’ less than the Coen brothers changed ‘No Country for Old Men.’ I’m certain of it. But you don’t hear the Cormac McCarthy fans, like, up in arms about it. They should be. It’s like an amazing Pulitzer Prize-winning book.
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