The undeniably popular video game series Assassin’s Creed has a film adaptation in the works and this week none other than Michael Fassbender has signed on for the full ride. The most recent entry in the Assasin’s Creed video game series features a set of assassins who throughout history have been cutting down England’s Knights Templar, finding themselves once again murdering the lot of them in Revolutionary War – aka the American War of Independence if you’re reading this from the UK. Fassbender will likely be playing Desmond Miles, a modern-day barman sent back in time to live in the role of one of these legendary assassins.
The folks at the video game company known as Ubisoft (producers of the game) will be developing the film on their own. The game was previously going to be produced as a film last year with Sony Pictures, but talks quickly disintegrated. The last film Ubisoft was involved in was Prince of Persia with Jake Gyllenhaal and Sir Ben Kingsley. This film did not do so well in the box office, but the game developers have been quite vocal about their apparent lack of creative input on the project.
Here the company has begun signing on crew and actors, creating a production package before speaking with major studios about a director and distribution rights. Ubisoft will be using their own in-house production studios for visual effects and has noted that Fassbender will not only be starring in the film, he’ll be co-producing it as well.
Michael Fassbender has been part of an interview SlashGear did earlier this year for the film Prometheus and has previously starred in X-Men: First Class and the film Hunger as well. Have a peek at this live-action trailer for the video game due out in October of this year, and get pumped up for the film version also coming soon – we hope!
With all the novelty stories that 3D printing has brought about over the past several months, there haven’t been many advancements in using the technology for medical and scientific purposes. That changes now, as researchers from the University of Pennsylvania and MIT have created the ability to use sugar to create artificial blood vessels, using the RepRap 3D printer.
“Rather than trying to print a large volume of tissue and leave hollow channels for vasculature in a layer-by-layer approach, [researchers] focused on the vasculature first and designed free-standing 3D filament networks in the shape of a vascular system that sat inside a mold. As in lost-wax casting, a technique that has been used to make sculptures for thousands of years, the team’s approach allowed for the mold and vascular template to be removed once the cells were added and formed a solid tissue enveloping the filaments,” the University of Pennsylvania wrote in a statement.
3D printing may still seem like a science fiction concept to the uninitiated, but to those who are willing to open their eyes, it is very apparent that it is here, it is now, and it is exploding in popularity. Everything from glasses to bikinis to coasters to artifical bones to guitars (need we continue?) has been successfully printed from a 3D printer. It’s fascinating to watch this next evolution in scientific advancement.
With The Amazing Spider-Man in theaters this week, it’s high time you read up on the making of the film and it’s future as spoken by the stars themselves, today’s interview being with none other than Dennis Leary. Playing the role of Peter Parker’s girlfriend Gwen Stacy’s father, Leary lets it be known that he’s not letting go of the series as easily as the classic plot-line surrounding his character would suggest. Note that this interview is especially littered with swearwords and spoilers galore, so if you’re rather young or don’t want to know what happens to Leary’s character in the movie specifically, watch out – otherwise dip in on this rather candid talk with the actor.
Also be sure to check the timeline at the end of this post to see each of the other interviews we collected last month (with more on the way) from the New York City press junket for the film. Don’t miss our first impressions of the movie as well – it’s a blast!
[Dennis Leary] First of all, I have a question. You guys f*ckin bored yet? *laugter*
You just had Sally Field and Martin Sheen up here, I bet you’re really looking forward to me. Two screen legends, and then this a**hole.
I’m sure we can make this very fast.
How about that Martin Sheen. Did he mention his book? I’ll do it for him. He just wrote a book with Emilio. It’s about the father son relationship – A total dysfunctional book book about Emilio wanting to beat the sh*t out of his father on the set of Apocalypse Now. -Which by the way, I don’t know what kind of stuff you like to read, but when he told me about it today and I said, ‘I’m reading that sh*t.’ How great would that be? You know?
[Q] What’s the name of the book?
[DL] Sh*t. I’m sure if you just Google ‘Emilio Esteves punching Martin Sheen’ you’ll get it.
[Q] Hi Dennis, how are you?
[DL] Good, how are you doing?
[Q] Good. I was just wondering – after writing, acting, producing duties on “Rescue Me”, was it nice to be able to come in and do this and just focus on the acting?
[DL] It was awesome. You know that 3D cameras sometimes need to take a break, because they’re air conditioned? They’re big rigs and I just go back to my trailer, watch ‘Sports Center.’ I didn’t have to write anything or fix anything. It was awesome; it was great; it was really good.
Above: The Amazing Spider-Man viral marketing video with Leary as Captain Stacy.
[Q] You played a New York City cop and a New York City fireman, can you tell us, in real life, what experiences you’ve had with either job – how people on the job affect you? And I also wanted to get the inside story on how – you have one of the best lines in the movie with the Godzilla reference – I was wondering if you could tell us how many takes that took, whether or not that was scripted or if it was improvised?
[DL] It was improvised. Marc is like an actor’s director, and he made a small movie, I don’t know if you’ve seen it it’s called 500 Days of Summer. It’s a terrific little movie with a lot of heart. And it’s an actor’s movie – and that’s what he described this as when I first got on the phone with him. And he actually stayed true to that. That he was making a character movie that happened to cost a good jillion dollars and have a big blockbuster name. -And a July 4th release date!
[DL] But it really was like an acting movie. Even in the big action sequences. So in rehearsal and stuff, he was talking about wanting to improvise around certain things and in certain scenes and play with it. That was one of the scenes he had earmarked. And I don’t know what take it was but we filmed a number of different versions of it. It was just myself and Andrew that day with a lot of extras. And we just started playing around with it and somewhere in the middle of it Marc walked up and said ‘what about this?’
Because it feels like, I imagine that we had about 8 or 9 takes where we just played with it and some where my ideas and some where Andrew’s ideas and Marc had come up with that line. And I said, ‘let’s shoot it!’
And I don’t know what they did from there, if they tested all the takes, or if they just decided in the editing room.
[Q] Have you seen the final cut of the movie?
[DL] I haven’t seen the movie.
[Q] What are some of your best real life experiences with real-life New York City cops and New York City fire-fighters?
[DL] Too many to mention with fire-fighters, but, when I was doing a television show called “The Job” for ABC which was based on the real life of a detective, who I knew, who was my technical advisor on The Thomas Crown Affair. So the guy was clean and sober when I was working with him on the television show, but he had been a pill head and kind of a mess – and he had had a mistress while he was married, and he had both things going on which was what the show was about.
And I was standing with Lenny Clark who was an actor in that show, outside of the Steak House after we had just eaten dinner. And the detective, who was on the job, who was under cover, we both see this guy who was scouting stuff out, he had a radio thing and he started to move and he saw us and and he went ‘hey Dennis, thanks a lot, now my wife’s really pissed, she found out about my girlfriend.’ *laughter*
And I thought that summed it up.
[Q] Dennis, I wanted to know what it was like working with Emma Stone –
[DL] Horrible. It was just a nightmare. *laughter*
[Q] It’s apparent you had a really great bond with her and you got to know her so I’m wondering if you could just talk about that.
[DL] We had makeup and hair tests and all that stuff you normally do, but we had some rehearsal time, and ah… listen man, honestly speaking, I had seen her in a couple movies and I’d heard on the grapevine great things about her. And Andrew I’d seen in a couple movies and I knew Rhys’s work, but I didn’t know him – the only person I knew coming in was Martin Sheen, we’d done a movie called Monument Avenue together years ago.
But I really, you know – I thought that Rhys was just a great actor… I didn’t know what to expect from Emma, and quite frankly, they were the real deal. I mean, they were all about the work. They were able to improvise, which not everyone can do – everyone thinks they can but they can’t really do. Every actor thinks they can do comedy and that’s just not f*cking true. *laughter* And everyone thinks that they can improvise and a lot of people can’t!
She’s great at it, and so is Andrew – so the first couple of days was getting used to the idea that these couple of kids were going to steal the movie from me and Rhys. And then, I remember in the dinner scene which was the first big acting scene that we shot and one of the first things we shot on the movie. We had three days to shoot, and we were playing around, improvising and all this stuff, and ah, I still wasn’t there yet.
I was supposed to be intimidating Andrew’s character but it didn’t feel like it was working. Because he was really coming to strike right back at me. And Marc walked in after a take and he just kneeled down next to me and he said ‘hey you really gotta step it up.’ *laughter*
And I just go… ‘f*ck.’ *laughter*
I mean that’s how good they are. I don’t know if you saw Death Of A Salesman but he was really outrageously good and that’s one of the most difficult roles you can take on in the theater and he was just – he was outrageously good, so, they’re the real deal. They’re going to be around for a long time and I’m just saying really nice things about them because I’m going to ride their coattails. *laughter*
That’s what I’m hoping to do. I’m going to be really nice to them, from here on in.
[Q] I have a question about –
[DL] -Where are you?
[Q] Oh, down here.
[DL] Oh, geez. How did you get the microphone? -Oh, she hands it to you, I see. There’s not like a hundred mics! She has a mic, and she has a mic. OK, sorry. I was confused.
[Q] What’s the difference between the effects films you worked on, say, 10 years ago, compared to now? Especially in regards to 3D.
[DL] There’s a huge difference now. Even in the course of “Rescue Me” which we shot for seven years. With a lot of action sequences which involve fire which is famously, obviously, dangerous with real smoke, real flame. And there’s sometimes effects that you need to lay in under that.
We went from having to do everything completely real – fire and smoke, to make it look real – to by the end, in the first five years of the course of that show, finding that there were details that we could do, that we could do digitally, that the audience would never see the difference of. And it would save a lot of safety concerns.
But at the same time there’s a lot of stuff that Marc purposely shot in front of the cameras, to avoid CGI, in terms of the stunt work.
You know, the audience will always know that there’s been a cut, or an edit, or an effect tossed in. I remember the movie “Children of Men”, did you see that movie? There’s a couple of sequences in that movie where it’s clearly one take, and it’s really the actors, and you’re never gonna really get away from that. We all know, we know more than ever when we’re being tricked, so when you’re not being tricked, you’ll stay on the edge of your seat longer.
[Q] How about in regards to 3D? I know that the rigs that are being used are using RED cameras, and then there’s two of them set up in a rig made by 3ality Technica –
[DL] I didn’t know that.
[Q] They make a rig that’s made specifically so that 3D filming is not intrusive. So you’ve got these 3D cameras that are going all over as easy as 2D cameras – did you notice them? Was it difficult to work with them?
[DL] Yeah they’re pretty big, it was pretty difficult not to notice them. But you know, you get used to it after a while.
[Q] Could you talk about – what was your hardest thing to do physically for this movie, and also was it fun to go back to Ice Age with a movie coming out in a few weeks?
[DL] Listen man… those things… Chris Rock said something about them at the Oscars this year. They’re the greatest. You come in, you look like sh*t – I don’t like to dress up, I wear the same clothes every day, you’re lucky I’m wearing – I changed my shirt and my tie like, I basically wear the same sh*t every day and I, you know, I don’t even wear underwear, I’d be in a bathing suit, that’s what I would wear, so.
When you can walk into a room and talk to an electric stick, and pretend to be, I don’t know, some f*cking tiger or something, and they give you all this money for it? That’s the greatest job in show business. It’s an insane job. I love it. I think it’s fantastic, and I’m truly hoping that we do – I want to do Ice Age until we do the Civil War, the Johnson Administration, and Obama gets elected. We’ll have Ice Age 13 when we catch up to the current timeframe and we’re moving into the future. They’re unbelievable man, they’re great.
[Q] What about physical stuff [for Spider-Man]? Do you get scared doing any of that?
[DL] Hey man, that’s what stunt men are for. I’m not one of those actors that’ll walk around saying ‘oh I do all my own stunts’ – f*ck you. First of all there’s a lot of stuff they wont let you do, you know what I mean? Then there’s sh*t you’ll look at and say ‘yeah, I want to do that, that looks pretty cool, let me try that.’ Then there’s stuff where at my age I’m like ‘f*ck this, I’m not doing it.’ F*cking stunt double, man.
[DL] The one thing I wanted, I told Marc, ‘I’m shooting that shotgun, every time the shotgun is fired.’ There was like four days of that, man. And that was a blast. Shooting the shotgun… so I like to do all the shooting. And some of the falls, you know. Sh*t that makes you look cool, I’ll do, but once it gets a little dangerous it’s like; no. That’s where that CGI sh*t comes into play.
[Q] What originally attracted you to this film?
[DL] I’d just finished filming the last season of Rescue Me, we were still cutting and mixing music and making choices. And Marc called me, I got on the phone with him, like I said he described this small little acting movie and I was like ‘this guy’s crazy.’ I’ve done action movies before, nobody, you know, you don’t get to do any acting.
And then I just said, ah, I’ll just jump in. I mean I’m not writing or producing it so how hard is this gonna be? It took longer than I thought but my job was basically just the acting, I didn’t have to do anything else. Which was great. And then just like any film, you figure like, you just hope it comes out in the wash. You know, comes out good. But it was no pressure on me.
I’m not like a comic book guy – my friends that are like Captain Stacy fans I had to like, stop talking to them. Because that’s like, insane, the sh*t that they want you to know about the character and so forth. So I went into work and focused on the other actors and that was it. So I had it easy, on this, you know? It was really no pressure on me.
Now I just gotta make sure I’m in Amazing Spider-Man 2 and 3 and 4 – which, by the way, is not impossible. Flashbacks… I really get in Peter Parker’s head there at the end with the dialog…
I was like ‘guys, you know I can come back, right? You know I can come back in a flashback, I’m in his head.’ And they’re like ‘oh that’s true, yeah man.’
F*ck yeah. By the time we get to The Amazing Spider-Man 5 it might be called “Captain Stacy’s Story.”
[Q] While you said that you’re not really that familiar with the comics, how early on did you know about Captain Stacy’s fate – which was pretty direct from the comics?
[DL] Yeah pretty much from the get-go, yeah.
Captain Stacy as he originally appears in the pages of Spider-Man courtesy of Spider-Man Crawl Space – note his retired status.
[Q] Was that something that made you hesitant or did it make you more excited about the role, getting to be the big act 3 tragedy?
[DL] Well I’ve been around long enough to think ahead. So I’m like, ‘ahh f*ck. My guy dies.’ As an actor I’m like, ‘well I get to do a big juicy death scene.’ But I could be out on the sequels… which is where the real money is.
Because in the original Ice Age, the ape was supposed to die – at the end of the first Ice Age. So I said, ‘this isn’t going to work, you can’t kill a major character, kids bum out.’ Right? So they screened it the first time and kids bummed out. Not because it’s me, because you have to kill the mother at the beginning of the child movie, and it’s OK. But you can’t kill a major character at the end.
So I got in on that! And I had a brief conversation with Marc where I was like ‘how about if I die, and then at the end, I come back to life.’ And he’s like, ‘no you gotta die.’ And I’m like, ‘alright.’ But that’s why I gotta plant the seed for flashback city. Two and 3, you know? Gotta get in there.
[Q] When you were talking about the dinner scene before, and Marc told you to step it up, I was wondering where it went from there, how you stepped it up and intimidated Andrew in that scene?
[DL] Ah, that next take. I kind of saw his, his head move back a little bit. I’ve got it in me, I was just still playing around trying to figure it out, you know? But they’re really good, and they’re not, you know, Andrew and Emma, I don’t know how they’re so good at such a young age, I really don’t.
[DL] Rhys and I would just stand to the side and say, ‘how did these kids get this good this young?’ They’re concerned about all the right things. You know, it’s not the size of the trailer, it’s the meat of the scene. That’s what they’re concerned about, so, you know, hats off to em, man. I wasn’t anywhere near that good when I was their age. Or that mature.
[Q] Did this movie get you thinking about the limits of science, and like, pissing God off by going too far and that kind of thing?
[DL] Yeah, Lapsed Catholic. I not believe there is a god because the Red Sox won the 2004 World Series. *laughter* I also think God is a gangly Irish guy who smokes and drinks and is not the guy that most people believe in. And I flunked science and math in highschool, and I still don’t understand science. So yeah, I don’t really…
I think it could be really cool if you could get bit by a spider and then fly around. I’d f*ckin do that tomorrow. You know? But I don’t investigate that stuff morally. I don’t know anything about science but I can basically recite the entire starting lineup of the 1967 Boston Red Socks – and their batting averages. And why wasn’t that on a math test when I was in school? You know? Like Bobby Doerr‘s stats, I could have been a straight-A math student if that had was on the math test. But no!
[Q] People don’t know that you’re a doctor.
[DL] They should know that because I published a book under the name Doctor, two books under the name Doctor actually.
[Q] A lot of people don’t realize this.
[DL] Yes I am, in fact. It’s nice that it follows the science question. Just incase you didn’t know – but you probably did know because of the celebrity world of becoming a doctor, which is you don’t actually have to go back to school. You’re just famous and they give you one if you speak at the graduation – which I used to think was really bullsh*t, but now that I have a doctorate, I think it’s a really smart system. *laughter*
I actually graduated with honors from my college, it was an acting and a writing degree, and then years later they gave me a Doctor of the Fine Arts. So there you go, Bill Cosby.
Bill Cosby actually went back to school and got his real doctorate, I’m like, ‘f*ck man, he must be pissed.’ I’m Doctor Dennis Leary, he’s Doctor Cosby. You know what I mean? But it’s cool to be able to say Doctor Leary.
I just went to – my son just graduated from the school I went to, and the guy looked down his nose at me because they were putting the doctors, the doctorates in a special seating area. And we were going in there, and this guy, like a real academic looking, like real doctor, of letters, turned around and he’s like, “excuse me but this is for the doctors.” And I’m like, “yeah I’m Doctor Dennis Leary.”
And he went like this, *surprised look* like that, and then there I was sitting next to him at the graduation. With all the other f*ckin doctors. *laughter* He was pissed, man, he was not happy.
[Q] Where is this school located?
[DL] In Boston, it’s a great college. Emerson College. I went there, there’s a lot of famous people that went to school there. It’s a fantastic school for acting, writing, and now filmmaking as well. My son just graduated with a degree in filmmaking. I can’t say enough about that school. It’s where I ultimately met my wife, after I graduated, she was going to school there, and… a lot of great alumni from that school from Henry Winkler to Norman Lear back in the way old days to – you know, a lot of the Simpsons original staff writers came out of that college. David Cross, me, god – the list, Gina Gershon, Mario Cantone, ah… I’m forgetting people man, Laura Keitlinger, it’s just, it’s – Steven Wright, the comedian.
It’s a really great school.
I should be getting paid for this.
Be sure to stay tuned for our whole series of interviews being posted immediately if not soon for this fabulous film. Have a peek at the timeline below to see what we’ve already got and hit our Entertainment hub for more awesome interview and film feature action in the future. Also don’t forget to see The Amazing Spider-Man in theaters now!
The next blockbuster comic book film headed to theaters this summer is The Amazing Spider-Man, and we got the opportunity earlier this month to speak to none other than the friendly neighborhood super-hero himself: Andrew Garfield. As part of a press junket in New York City that included everyone from Emma Stone to Martin Sheen [our talk coming up later this week], including the director Marc Webb as well, it was Garfield who came off as the single most jolted and excited cast or crew member involved. Have a read on how Garfield jumped into the role of Peter Parker and his superhero alternate identity Spider-Man below, and don’t forget to keep your mask on!
Be sure to check out our first look at The Amazing Spider-Man from earlier this month as well. We’ve also got a talk coming up that will let you dive deep into the world visual effects on the film this week. For now though, head on down to Andrew Garfield’s take on the whole experience!
[Q] Hi Andrew, first off, congratulations on everything.
[Andrew Garfield] Oh thanks. On my life, hah. I do have a very blessed life, thank you.
[Q] I wonder if you could talk about the difference between doing low-tech stagecraft [such as with Death of a Salesman] and this, a huge blockbuster?
[AG] It’s not much different, actually, weirdly enough. In terms of how I approached it, my only intention was to honor the character. That goes for Biff Loman as well as Peter Parker/Spider-Man. That was everything to me. So, my approach was the same – just from my heart and guts. I got very upset and stressed out and wanted to do a good job, as is my way. And that’s kind of it. I mean, there were certain things that were challenging about both, of course.
You know, the repetition of going through trauma every night on stage is a killer and your body doesn’t know it’s not real, even if your mind does. So, your body is in a lot of pain and your heart is in a lot of pain. But it’s worth it. I will always think about that theatre experience all my life. I will hold it very, very close to me.
Garfield poses with cast members in NYC for The Amazing Spider-Man earlier this month.
[AG] And then with this movie, the technical aspects – the only thing that was kind of a challenge was that it was difficult to get into a rhythm because of the 3D cameras. The new technology was difficult for everyone involved. They take a lot of care and delicacy, so it meant that we were stopped occasionally. I love just going and going and going and keep it rolling, keep it rolling and screwing up and screwing up and screwing up, then occasionally you accidentally get something right and you won’t know how. That’s kind of how I like to work. And that’s why I loved working with David Fincher because he does so many takes. I discovered how that kind of painful exactness really suits me, so that was cool.
[Q] In this film you use the mechanical web-shooters. Did any of them actually work – did anything happen [when you activate them]?
[AG] Um… hah…. do I lie or not… um, no, it was a nice exercise in imagination, and that carjacker scene we had the ah – that was all improvised, that scene, so I had this idea that I could draw the Spidey image over the guy’s crotch, and I think at one point they had that in there and they took it out. (I thought it was kind of cool.) But no, to be able to have that imagination do whatever you want and know that they could add it in in post was kind of liberating so I could shut that door on that guy as many times as I want, I could web him in the face, I could web a long shot – It was kind of fun. But difficult, because if it was real, it would have been awesome if it was real.
[Q] I interviewed Andy Armstrong about the swinging rigs that he built and he talked about all the training you put in to actually be able to get up there and swing yourself. What was the experience like in actually using those rigs and actually being able to get up there and swing?
[AG] Thanks for the question – any mention of Andy Armstrong and my heart swells. He kind of turned into a father figure for me on this film and remains that way. He… I can’t… I will write a book about him one day. He… his team are the safest group of hands you could ever hope to meet, and passionate, supportive, loving – it’s a tribe that he has. And he was generous enough to allow me to be a part of that tribe. I got no special treatment and it was amazing for that very, very, very reason.
He’s a real person and he likes real people and we had an amazing time. He pushes me, you know, there were things I was scared about and like any good father he kind of told me: ‘Go beyond. Go beyond what you think you can do, ’cause you might surprise yourself.’ So for that reason it’s kind of a spiritually overwhelming sort of experience to work with him, and of course that combines with that sensation, that physical sensation that I wanted to do since I was 3, probably what everyone in this room has wanted to do since they were 3 years old: I got to live that for a second. I’m eternally grateful to everyone at Sony Pictures for allowing me to.
[Q] Have you received any feedback from Toby McGuire about your portrayal of the character, and if so, how did you take it?
[AG] Ah… to my knowledge he hasn’t seen the movie, but I got feedback from the casting – when I got cast he sent an email to Matt Tolmach immediately that was very, very generous, and made me feel like I could take the torch in confidence and that I had that support in him. He didn’t need to do that, it tells you something about his person. We’re all part of that family, that Spider-Man family.
[Q] How would you describe the wonderful work that Spider-Man does in regards to him being called a vigilante?
[AG] What’s cool about this movie is that he discovers… he discovers the power of what he’s created. He doesn’t create this… he doesn’t create this symbol with any kind of high-mindedness, he creates it so he can protect himself. Because he’s searching for his uncle’s killer. And I think that he is a vigilante for a period of this story, of this particular story. And I think it’s true for any teenager who goes through that amount of tragic events to have those impulses – to kick out, and rebel, and use their powers in a way that you’re not thinking responsibly. They’re not even thinking at all.
[AG] I think that whole section is Peter running away from his feelings – Peter running away from the pain, the guilt, and putting it in something physical, and sweating it out. And when he comes home to Aunt May it’s sort of very difficult to be seen in that way and to see yourself in that way. So yeah, I think there is a period where he’s acting out on those kinds of impulses, and he accidentally discovers that he’s created something bigger than him, and that can be used for good. I think it – it was important for me that he started with a heroic impulse, he, without the physical powers doing things with it.
And that was always how I felt growing up, I felt like I was a dog and I felt like I was a skinny kid and – now I’m not obviously, I’m a just like, huge bruiser. So I got over that problem. Now I just realize that being skinny is ok, you know? I always feel I should have been bigger for that reason, because if I actually told you that, I guess – although for example like everybody played rugby, and I played rugby, and I was good at it but I got concussed all the time because I was a weakling, So that’s something I would identify with for Peter, you know, he always just felt stronger on the inside than he did on the outside.
And there’s nothing better than seeing a skinny guy beat the crap out of big guys. So that was just kind of important for me.
[Q] You say in a lot of interviews how much just Spider-Man truly meant to you as a child growing up and this end result now, and [Marc Webb] has mentioned that you wrote a personal note to him that really moved him. I’m wondering if in your long history with Spider-Man you – can you tell us what it was like to meet Stan Lee for the first time and how that ranked as far as maybe like nerve-racking experiences inclusive with things like auditioning for this role which is nerve-racking enough?
[AG] Yeah, yeah, I’ve been at this for the past two years, it seems like, every day there’s been something that like has made me have to suppress shaking. So, but Stan Lee was a weird one because… he wasn’t real. He’s too iconic to be real. So it wasn’t like I was in a room with a human being, it was like I was in a room with a wax figure, you know? I was at Madame Tussauds.
It… It made no sense. I wasn’t nervous, I was just like… I was one of those annoying people who is like *makes open faced gawking expression* And he was just like… *waves hand in front of face* ‘I’m here…’ And he’s amazing, he’s everything that you think he is.
[AG] He came on set, so I met him in the makeup trailer once, and then he came on set again and he did this amazing cameo in the library… It was just, it was just beautiful because when you really truly understand what he’s given to us… he’s given so many kids hope, and joy, and you cannot thank enough for that. It was like being in a room with Mickey Mouse, you know, it was bizarre. So I wasn’t actually nervous, in a weird way. That was the one day I wasn’t actually nervous.
[Q] You’ve said you want to audition for every part that you want. Why is it that you feel you have to audition? Is it a challenge, and what do you get out of it?
[AG] Sometimes there are actors who reach a certain level of notoriety or visibility where they don’t need – they may get offered roles based on their monetary value or the idea that they will bring in an audience. They may not be right for the part or they may not serve the story in the way that they should. I’m not saying that I’m in that position, I’m just saying that that is something that I fear.
Like, here’s a weird analogy: if you’re in a pool hall and you’re playing pool and you have to put in 50 cents every time, you’re going to enjoy that game because you paid for it. But if you figured out a way to jimmy the thing and you can get a free game of pool out of it, you’re not going to care so much about the game.
There’s something in that about feeling like you’ve earned something as opposed to just being handed something. And luckily I haven’t experienced that. I’ve had to work for everything that I’ve been a part of, and there’s just something satisfying about it because you know that they looked at everyone and that you are the right person for that particular story at that particular moment. I guess there’s something about staying grounded and humble, and making sure that you appreciate everything you have as well.
[Q] You had one of the most memorable introductions at Comic Con [as seen in the video above]. Why did you choose to go that full confessional route? Did you feel like you needed to or were you driven to and you thought that was the right audience?
[AG] It wasn’t really thought out. I was compelled, for many reasons I think – if I analyze it. I am terrified to take on this role because it means so much to me, so I know how much it means to other people. And I think it has something to do with actors being on stage… I wanted to be on the ground. I wanted to be in the audience watching the panel. I didn’t want to be in the panel. That’s where I thought I just belonged more, so I guess I just kind of extended that idea.
I kind of wanted to do the whole speech in the mask, just out of sheer protection, you know? There is something odd about the separation between actors and the audience that I don’t really care for. That’s why I love theatre so much. That’s why I loved the great show that was here in New York called “Sleep No More”, which is all audience participation. You basically walk around and you’re immersed in the experience, and there’s no separation from the actors and the audience.
I don’t know – I’m not really answering your question. I just wanted to feel connected to the fans in a real way because I’m a fan first and foremost. It just felt like the right thing to do. It was a scary thing because who knows what would have happened. But it just felt like an opportunity to have fun as well.
[Q] What did you do to make sure you got the part of playing a teenager right – not necessarily a teenager who develops powers? Is there research that you did?
[AG] agree that the teenage element is incredibly vital to this particular superhero and this person, this character. The fact that he goes through the same stuff I went through, that’s why I love him so much. Because I thought if I was him. That’s why everyone feels like he’s him because he’s all of us. He really is.
So the teenage thing, I don’t know. I did spend time in Queens hanging out with teenagers and a lot of recording the voice and intonation and picking up phrases that I might not be aware of or a general attitude. That malaise and the awkward shyness – every aspect.
There was a great book I found for inspiration called “Teenage”, which is a book of photographs. I wouldn’t buy it because it’s too expensive, but actually the marketing department at Sony bought it for me very, very generously as a gift. I saw the price and I’m like, ‘You guys are crazy! Thank you so much.’ But it’s awesome. The energy of the photos in that is what I wanted to capture. It’s tongue on tongue.
[AG] It’s just head out the window, that need to express, that need to kick the walls down irrationally.
Which, when you combine that with being a superhero, that is kind of exciting. There’s that scene on Gwen’s bedroom floor where she’s nursing me and we have an intimate, kind of heavy moment of like she’s terrified I’m going to die and I’m terrified of what I’ve done to my mentor. At the end of that scene it’s – ‘Let’s just get out of here. We’ve got to get out of here.’
In a previous version – we shot a lot more – we have a date night where it’s expressive and free and teenage and romantic and silly. But that feeling is something that I really wanted to capture, especially in those moments between Gwen and Peter.
So, “Teenage”. Check out that book. It’s too expensive. Find someone who has it and look at the pictures. You’ll be like, ‘Oh god – I remember that feeling.’
[Q] Can you compare and contrast kissing scenes with killing scenes and doing romance as opposed to doing death-defying action on screen?
[AG] They’re all pretty scary things. Hah. Yeah, they’re all pretty scary. I actually felt more safe when I was swinging around because you have a very, very strong safe pair of hands holding you up. In the romantic scenes, I’m free-falling in a way, as they should be. They have to be spontaneous and free and terrifying, because that’s what first love is.
First love is the scariest thing to ever go through and the most exhilarating. You’ve got so much to lose. So they were actually more frightening than swinging through the buildings, in a weird way. And especially because it’s Emma, and she’s terrifying.
[Q] Could you talk about the physical transformation you had to go through, the training, and the stunt coordinating? Was there a particular moment you’re really proud of?
[AG] It’s so nice to be able to look at a movie and feel ownership. It’s a really nice thing to be able to feel that, because of Andy’s trust and his encouragement of me. There was something specific that I wanted to do with the physicality that wasn’t just a guy in a suit throwing kicks and punches and saying cheesy lines.
[AG] I wanted it to be a “Spider-Boy” in the way that if we ground this film in reality, then what happens when spider DNA is running through your bloodstream? What happens to the teenage boy who is fidgety and nervous and can’t really keep still? He discovers that he can now have patience, like a spider.
[AG] There was another scene that they cut out which was awesome, which is me and when the Chinese thing goes in the trashcan when I’m on the computer, but I was doing something with all my limbs – doing different things – and they melded two shots and I thought it was really, really cool. I was moving a lamp with my left, I was typing with my right foot, I was eating Chinese, and I was reaching for something behind me, and it didn’t get in the movie. Maybe I’ll cut my own movie on bits that I like. *laughter*
So, yeah, that was really fun.
[AG] And there was a lot of great physical stuff that made it, like for instance the scene where I get all the food out of the fridge. The kind of spatial awareness that you have in this film is like, ‘Peter doesn’t move like that. Peter doesn’t glide like that before the spider bite.’ And the way he’s moving around the space, he’s kind of walking by the wall as opposed to walking straight through the room. He’s kind of got his back to the wall.
That kind of thing is fun to play with, but then of course the training is horrible. Like the physical training changed my body because I’m a lazy guy. I’m vain, but I’m not vain enough to care about the gym. And Armando Alarcon was my trainer and he’s a fantastic trainer and a terrible person. *laughter*
I have very confused feelings about Armando. Wherever he is, he knows that. He’s hiding from me because he will be murdered one day. No, but we had a great time. I was thankful for him. He kept me on an even keel all the way through, and that combined with the whole stunt team was a pretty awesome experience.
[Q] Did you have any issues with the costume that you were aware of at all, were you wearing it out in public, anything like that?
[AG] You know, I had many issues with that costume. *laughter*
But every actor who plays a superhero is like, ‘the costume sucked.’ Like, we should just get together to talk about it because it’s so inappropriate to talk about in public. It’s like – how dare we complain? We’re the ones that get to wear it. It’s the dream.
But, it was so terrible. No – Let me just put it this way: the fantasy of wearing those costumes is really awesome. We should just enjoy that.
Catch our whole Spider-Man series of interviews as the week goes on right here on SlashGear, and don’t forget to hit our Entertainment portal for more big-ticket film action through the future as well. Finally, don’t forget to check out The Amazing Spider-Man as it hits theaters July 3rd here in the USA!
Scientists now believe more than ever that Saturn’s largest moon has an underground ocean. The discovery that presents this latest solid evidence is that Titan has been found to warp during its gravitational tides. This is leading science experts to believe that a large body of water slosed around under its outer shell.
It’s long been a hypothesis that Titan, and other moons far in the deep reaches of the solar system, are capable of holding water underneath their surfaces, but the lack of technology makes it impossible to test these theories. There is however a spacecraft called Cassini, which has been in the Saturn area since 2004. It is the primary source in providing new information about the planet and its moons.
“Liquid water elsewhere in the solar system is one of the main goals of planetary exploration for NASA,” said study lead author Luciano Iess, a planetary geodesist at Università La Sapienza in Rome. “This discovery points to the fact that many satellites in the outer solar system hide large amounts of liquid water,” said planetary geodesis and lead author of the latest study Luciano Iess.
Official LEGO Star Wars sets have been around since 1999, but what our other geek needs? Where is our Blade Runner? Or TRON? Why is there no Hitchhiker’s Guide to the Galaxy set? LEGO, you are missing out on all of my money. Thankfully, The Living Brick’s “Mi-Fi“ Contest fulfills some of these dreams. All the entries are in for the “Mi-Fi” contest, and the results are very very awesome. In addition to new scenes from Star Wars, there are LEGO-fied versions of TRON, The Matrix, Back to the Future,Avatar and many more! There’s even a tribute to Spaceballs.
There are so many cool creations to see that it’s hard to pick a favorite. Head on over to The Living Brick to check them all out.
We might not quite be at the level of technological brilliance that allows us to sit at home on the computer, press the “print” button, and have a cake appear next to you in a few minutes. But that didn’t stop a group of creative 3D printing fanatics from using similar technology to create a machine that autonomously prints icing onto a cake, allowing custom, advanced designs.
The group, which refers to themselves as CNCDudez, uses what it calls a “punch and extrude method” wherein a package of buttercream frosting is maneuvered around the cake, and squirted out in a very specific pattern so as to match the design laid out in the specified program. It kind of reminds us of the “Burrito 3D printer” we saw just a little while ago. There are actually fabrication machines that can create recipes and food using 3D printing technologies.
This trend of 3D printing components and processes being used for purposes other than material and product fabrication is certainly an interesting development. It’s a symbol of just how mainstream the technology has become, in just a very short span of time. Anything that can be used in applications from sophisticated medical research to street-corner food vendors has a bright future.
This month we had a chance to take a look at an early screening of the upcoming blockbuster action film The Amazing Spider-Man, and what little we can tell you at the moment includes this: the visual effects here take the cake. While the refresh of the Spider-Man movie series has a story that is thrilling in its relative newness, it’s the mise en scene that will strike you hardest. If The Avengers proved to us that its prime time to bring the Marvel Universe to the big screen in a massive way, Spider-Man is the knife that cuts all the sweetest bits of this delicious visual cake and serves them up with the friendly neighborhood kid this superhero was always supposed to be.
There’s not a whole lot we can say about the individual characters without giving away the plot of the movie. That said, there’s no holding back the fact that Spider-Man takes the great high-flying feeling you get in the first three movies and keeps ahold of it fully. Though instead of seeing Peter Parker doing all manner of rubber-bodied wobble-flips like we saw in Spider-Man 1, 2, and 3, we’ve suddenly got a whole new generation of web-slinger in which he looks one heck of a lot more real, and feels that way too.
You’ll find Peter learning his skills fin a complete reboot of the Spider-Man storyline, with his physical transformation being shown clearly in his bent-body calamitous crashes and bloody bashes galore. This movie has Andrew Garfield getting cut and bruised more than the other three Spider-Man movies combined, and the audience is certainly going to have a great time while he does it. The most important thing this movie does is make you believe that Spider-Man is born of the same kid hero that went big in the 1960s when an adult hero was the only kind there was.
As far as the presentation goes, this is certainly a film you’re going to want to see in IMAX 3D. The screening we had a peek at today was presented on one of these massive screens with stadium seating, (the only kind any theater should have these days, of course), and RealD 3D. While I’ll never get over how odd it is to wear 3D glasses of any kind, or that these glasses make the whole movie just a bit less bright, the third dimension here is top-notch.
Have a look back at our talk with 3ality Technica about their involvement with Prometheus to see what kind of gear the crew was using to make The Amazing Spider-Man’s 3D camera setup a reality. This film was made with a couple of RED cameras on every shot where there’s 3D, with 3ality Technica’s gear allowing the filming of this movie to be no more difficult than a 2D movie would have been – and it shows. There’s no holding back here when it comes to effects shots and all manner of building-crawling angles here. Expect a ride, and you shall receive it.
We’ll be having a more involved look and review of The Amazing Spider-Man once the film is actually out in theaters early next month. Meanwhile, stay tuned for several more features – including interviews of all the stars and some of the crew, too – we’ll be producing right here in the main news feed in our fabulous [Entertainment portal] – web-slinging action coming at you for weeks!
If you think there are too many reality shows on this planet, just wait. If a pioneering Dutch company has its way, you’ll be watching people live on an entirely different planet in a little over a decade from now. The project is called Mars One, and it aims to send people to the Red Planet in the year 2023, for the enjoyment of us Earthlings. This is a legitimate project, but of course we’re skeptical about whether or not it will actually happen.
Here’s how it will work. The show will send four trained astronauts to Mars, and every two years they will be joined by new inhabitants. Everyone will be bound by a stipulation that they can never return to Earth, so the population will grow ever so slowly. Apparently at some point a bunch of cameras will be set up on the planet, streams of which will be edited for a reality show like no other. It’s been described as being like the CBS show Big Brother.
An ambassador to the project, physicist Gerard ‘t Hooft, said, “This project seems to be the only way to fulfill humanity’s dream to explore outer space. It is going to be an exciting experiment. Let’s get started.” The monumental funding task will be handled by years of media spectacles. The first scheduled launch to Mars for initial equipment delivery is 2016. Hopefully we can look back on this post four years from now and say that things are actually on schedule.
A new, significant milestone has been reached in the world of 3D printing. You may know 3D printing as a neat, novelty kind of technological advancement that allows people to print their own mugs, earrings, etc. Or you may know it as a significant achievement in medical research. Or you may know it as something else. But there’s one thing that every application of 3D printing relies on – available printing material. That’s where Objet comes into place.
Objet, French for “Object,” of course, entered into a 3D printing merger with Stratasys earlier this year. That has boosted the company’s ability to rapidly expand its research and development to the point where, recently, it announced that it now has the technology to use 107 different materials in 3D printing applications. Most low-level commercial 3D printers only focus on one kind of plastic or similar substance.
But for industrial-grade purposes, there needs to be a lot more flexibility. Objet allows printing of flexible and rigid materials, opaque and transparent, and all manner of colors and shades. “Objet has become the first 3D printing company to break the 100 materials barrier. Considering that we had half this number just a few short years ago, this growth in material choice confirms our commitment to consistently deliver new and enhanced material properties to our customer,” the company said in a statement.
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