MARVEL MADNESS #6: Matthew McConaughey Has Been Talked To, Pratt's Contract, Psylocke's Hair, And More!


This week's Marvel Madness is chocked full of Matthew McConaughey, Chris Pratt's movie contract, Daredevil, James Gunn's Guardians of the Galaxy 2, the colour of Psylocke's hair, and much much more!


Following his breakout roles in Mud, Magic Mike, Dallas Buyers Club, and “True Detective,” actor Matthew McConaughey has been more in-demand than ever before and apparently Marvel Studios and Warner Bros. wanted him in their respective cinematic universes. Speaking with Variety, McConaughey was asked if he’d ever consider being in a superhero movie and revealed that he has been courted by both studios before.

“I’ve read some Marvel and DC scripts and I’ve talked about working with them on some scripts, none of which I’ll share with with you what they are — or were. Yeah, I’ve circled some of those. Nothing has been right for me yet. But I’m sure open to it.”

McConaughey was then asked what would convince him to be a part of one, saying:

“It’s very simple for me. I look at the script. Is the opportunity exciting? Is the money that comes with it exciting? Sure. Is it the possibility of going, ‘Hey you can get on a train and it can be a franchise and you could do 3, 4, 5, and have a great time as some kind of superhero or anti-hero.’ But I would also look at something like that and say, ‘Hey, in success that means you are on the train for a while.’ Contractually, you’re going to return to the character over and over. It’s something I asked myself is it something I’d want to return to. Would I be excited to go back and put the shoes on the character again? Going and doing the press tour with that group of people again? I always ask myself those questions again. It starts with the story and character.”


When Marvel Studios began building their cinematic universe they have the foresight to lock up their future movie stars to multiple films, removing the possible contractual potholes that could appear down the road. Now that Guardians of the Galaxy has grossed a gazillion dollars fans of the MCU are interested in knowing how many films its star Chris Pratt is obligated to do. GQ got some answers.

Guardians of the Galaxy was the making of Pratt, but however effortless it may have seemed on-screen, the movie's deft combination of action and comedy, sincerity and levity, didn't come easily.

"[Guardians director] James Gunn had a hard time working with me for about the first half of the movie," Pratt explains. "He'll say—and I wouldn't want to be quoted [sounding like I was] saying this about myself—I'm a much more cerebral person than you may expect. You may see this guy who's sort of like goofy and funny and doesn't give two shits, but really I'm thinking a lot, in my head below the surface." Too much, in fact, so that sometimes Pratt would lose track of the natural instincts Gunn had liked. "It's a little bit like a Venus flytrap," says Pratt. "If you stick your finger in and it closes, it takes like a week to open back up. So he had a hard time working with me because he'd tell me something, or I'd do something, and the next thing you know he couldn't get me back to where I started originally."

"I think that he had gotten a lot of success over the past few years being the funny sidekick," says Gunn, "which means that he always has to juggle to entertain everybody. And the truth is, Chris didn't trust himself to just be Chris Pratt—and how desirable that is to an audience."

"I thought I was bad," Pratt concurs. "I thought I was doing bad acting. I would just think: My bullshit meter's going off. This screams inauthentic to me." Pratt says that Gunn had little patience with this. "He's like, 'Who gives a shit what you think? I don't fucking care!' "

He'd literally say that?

"Yes! He'd be, 'It's not your fucking movie, dude, it's mine! Trust me and shut the fuck up and do what the fuck I tell you, and scream it!' He's like, 'More! Louder!' I would get pissy because as an actor, you sometimes hate that direction: Louder, faster. But it's true—sometimes you have to be louder, speak more clearly, let the words do the work, and just get out of the way."

"I think being the center of focus on the actual movie set," says Gunn, "and having to learn this balance, which I think he had never learned before, of both allowing himself to be the center of attention while simultaneously realizing in what areas he is completely unimportant—that's what being a movie star is, and it's a very difficult balance for someone to learn."


They say the suit makes the man, and with a hero whose look has become as iconic as Daredevil’s, that applies ten-fold.

With the Netflix Original Series “Marvel’s Daredevil,” the creators behind the series had to reimagine Matt Murdock’s classic suit to fit in with the grounded, street-level tone of the series.  In order to accomplish this, they looked to the team of designers and costume artists at Marvel Studios—headed up by Ryan Meinerding—to take a crack at some of the visuals and designs for the series.

“Joe Quesada got in touch and asked if I could help out,” recalls Meinerding. “Our whole team actually did designs, [including] Rodney Fuentebella, Andy Park, Jackson Sze, Josh Nizzi, and Anthony Francisco. I think we all did a round of designs as fast as we could, and they settled on one of mine. Beyond that, we did our normal process of modeling the head and the cowl [in] 3D with Josh Herman, and then I was involved throughout the costume creation process.”

Marvel CCO--and one of the series’ Executive Producers--Joe Quesada, known for an immensely influential run as the artist on Daredevil’s comic series, also had a hand in the series’ designs.

“The starting point is always story,” explains Quesada. “We had to come up with a logical reason as to how someone with Matt Murdock’s means and ability to actually make a costume could make that dramatic of a leap from the vigilante costume to the super hero [suit]. Once that logic was in play, which was the Melvin Potter of it all, we had to build to that point. I think if we had gone to that red costume too soon, it would have caused a lot of viewers to bump on the material, because it was so grounded in the real world.”

The “Melvin Potter of it all” refers to the character who, in the series, actually helps Matt build his final Daredevil suit. Having a character like Potter, a mechanic, actually develop and build the costume in the series gave the team a basis to work off of.

“The tone that was really communicated was the sense of realism that they were going for,” relates Meinerding. “I think the way that [manifested itself in] the costume was through the armor and making it feel a little bit more padded than you traditionally think of Daredevil being. When we do these designs, there’s a concept of grounded and a concept of reality. The grounded nature that they brought to the vigilante costume was the simplicity and effectiveness, because you’re trying to conceal your identity but also [have to be] mobile enough to fight.
“When you do a super hero costume in that world, it’s hard to be as real as you need to be, because you’re making it heightened. So you try and find the touchstones for that with armoring pieces that you would want armored, like your shins and your forearms for blocking and hitting as well as having things be riveted on. The overall layout of that costume is really that it’s meant to look like a Kevlar vest with stuff underneath it. That’s what we were going for.”

Quesada commends Meinerding’s work, commenting on many of those “touchstones” added to the design.

“One of my favorite parts of the costume is that if you look very, very closely at some of the way the armature is attached to the costume, you can actually see rivets,” Quesada elaborates. “There was something about that particular element that I told Ryan, we should lean into that a little bit because that is so quintessentially New York and how the city itself is constructed. And Melvin Potter, being who a guy who’s working on engines [and] a bunch of different things, rivets seem like something he would use. Ryan also did some great stuff with respect to the placement of blacks against the red, the way that the darker portions of the mask are constructed to really give the full feeling of when comic artists draw that mask and rim light it in red while leaving the center portions black.”

Daredevil’s cowl remains one of the most defining characteristics of his look, lending him the nickname of Hornhead, so that in particular had to come out just right.

“The horns are iconic, and we had to be careful as to how we handled them,” remarks Quesada. “I think what Ryan did is absolutely spectacular, when you really look at the structure of the helmet and the horns, because those can be done in a way where they actually look silly. He created an architectural design, an angular design for the horns, that just feels natural to the cowl.”

As Quesada hinted, bringing that cowl to life wasn’t as simple as slapping a couple of horns on and calling it a day.

“One of the most interesting things about Daredevil, that I hadn’t fully appreciated before I started working on the character, is that I think that head is one of the most difficult heads to design for a live action context,” confesses Meinerding. “Because if you have a mask like Captain America’s, it’s difficult in it’s own ways, but you still have the actor’s eyes coming through. So you get performance, you get a sense of who they are, of their expression, of what they’re doing. [As a result] the bottom half of the face matches the top half, in terms of expression. With Daredevil, because half of his face has to be covered and has its own expression and the actor’s face is going to be doing something else, it’s actually a very difficult challenge to come up with something up top that’s not going to bump with something down below.”

In the end, one more element had to fall in place before Daredevil’s final suit could fully harken to the iconic look from the comics.

“The billy clubs, designed by Andy Park, were also very important,” stresses Quesada. “There was a discussion early in the process, because Charlie Cox [and his stunt double] Chris Brewster are both right handed, of having the billy clubs holster on the right leg. But Daredevil wears those billy clubs on the left hand side. So while it would have been easier to place the holster on the right we all felt that we had to keep to the classic profile and keep them on the left. It made life a bit more difficult for Charlie and Chris, but they caught on pretty quickly. No matter how you sliced it, they were going to have to holster the billy clubs without looking because lets face it, DD would have no need to look.

“Ultimately I think the silhouette is always what’s really important. Does it look heroic? Does it look like our character? If he stands on the parapet of a roof and turns his head and we see those devil horns, is it Daredevil? I think that’s where Ryan succeeded and exceeded all of our expectations. It’s Daredevil.”


Kicking off Marvel’s 2017 plans, the second year of “Phase 3″ of the Marvel Cinematic Universe and the first year the studio will have three theatrical releases, will be the sequel to surprise hit Guardians of the Galaxy. Writer and director James Gunn was confirmed to helm GOTG 2 before its predecessor even opened in theaters and he’s already working hard developing the followup.

Over the weekend, Gunn held another live Q&A session via Twitter’s Periscope livestreaming app, and spoke quite a lot about Guardians of the Galaxy 2.  In responding to questions, he explains that he’s been rushing to get the sequel’s script done and has already completed a draft, only now finally taking a breather. He’s aiming to complete it before heading to Columbia next month to shoot his next film, The Belco Experiment, which he is writing and producing.

As we reported in early April, Gunn was very quick to submit a lengthy 70-page story treatment to Marvel’s creative committee, not long after pitching a story for the sequel which Gunn claims is “risky” for Marvel in how different and original it is compared to the comics. The “story about fathers,” as Gunn labels it already has at least one draft of the script done which he’s revising and tweaking. Production begins next February so there’s still a long while before concrete details begin leaking out from him and Marvel Studios.

What we do know from this latest Q&A is that one new main character will be joining the team in GOTG 2 and from our talks with Gunn during the Guardians of the Galaxy press junket, he made it clear that he wants at least two female members on the team in the next film. He also hinted that someone familiar may join the team. If it’s not an Avenger (which Gunn has also hinted at in the past) an easy guess would be Yondu (Michael Rooker) who in the comics is a future member of the team and who we know has a major part in the sequel as well, returning alongside his right-hand man, Kraglin (played by James Gunn’s brother, Sean Gunn).

When asked about casting newcomers for Guardians of the Galaxy 2, Gunn revealed that the process has already sort of begun. He’s already talking with someone about playing the character he has in mind, a new Guardian, as he labels it. We don’t yet know who that is, but in terms of the core Guardians of the Galaxy roster, we’re guessing based on Gunn’s words since the first movie came out, that there will be two additions to the team: someone we’ve met and someone we haven’t who he’s talking to now – even if it’s informal talks at this point.


Star Wars creator George Lucas thinks that a new Howard The Duck movie could be a hit—so long as Marvel Studios rendered the titular fowl  in computer generated imaging.

“Someday, I hope, Marvel will make a new version of Howard the Duck, and you’ll see it could be a good movie,” Lucas told Wired Magazine. “A digital duck will make that thing work.”

This comment may prompt an eye-roll or two from those familiar with Lucas' career. Though celebrated as the creator of Star Wars, Lucas has been equally criticized for his over-reliance on CGI effects in the Star Wars prequels, and for stuffing CGI effects into his classic Star Wars trilogy for the “Special Editions” released in 2004.

Interestingly, Lucas served as executive producer on Marvel’s 1986 Howard The Duck movie. Though nary a pixel was to be found, the film is still generally regarded as one of Marvel’s worst. But now that Marvel Studios has brought the character (in full CGI) into their cinematic universe through Guardians of the Galaxy, perhaps Lucas will get his wish.


Phil Lord spoke briefly to The Hippojuice Podcast (via /Film) about the upcoming animated Spider-Man film he and Chris Miller have in early development at Sony Pictures, although it doesn’t sound like there are any solid details to share quite yet.


NON-MCU STUFF!



X-Men: Apocalypse hair designer Felix Lariviere has confirmed, via Twitter, that Psylocke will have purple hair in X-Men: Apocalypse.

In the comics, Psylocke is a British woman and natural blonde. She dyed her hair purple during her early pursuit of a modelling career. Even after Betsy was forced to body swap with the Asian assassin Revanche, she continues to be drawn with purplish hair (black with a purple shine, at its subtlest).



Olivia Munn will play Psylocke in X-Men: Apocalypse. I’m sure fans will be eager to see the results of her purple dye job.


The X-Men: Days of Future Past – Rogue Cut Blu-ray release will feature a sneak peek at the upcoming Fantastic Four movie.

The Fantastic Four preview is part of the over 90 minutes of never before seen special features promised to be included with the release, in addition to the Rogue Cut itself. The Rogue Cut Blu-ray also includes the theatrical version of Days of Future Past.

The Rogue Cut will add 17 minutes to the theatrical cut of X-Men: Days of Future Past, including a restored action sequence featuring Rogue (Anna Paquin) breaking out of a Sentinel controlled prison camp.

Other special features included on the Rogue Cut Blu-ray are:

Audio Commentary by Bryan Singer and John Ottman for the Rogue Cut
Audio Commentary by Bryan Singer and Simon Kinberg for the theatrical cut.
Mutant vs Machine
X-Men: Unguarded
Gallery
Second Screen App

X-Men: Days of Future Past – Rogue Cut will be released July 14.

And that's all folks! Hope you have been now inundated with all things Marvel for awhile, BUT be sure to check back next week for more!

PEACE!!

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