Bryan Singer

Di­rec­tor of X-Men: Apoca­lypse

SFX: The Sci-Fi and Fantasy Magazine - - Reviews - Ian Berri­man

Were there as­pects of Apoca­lypse you thought about us­ing but didn’t?

I con­sid­ered mak­ing him just a gi­ant, but then sud­denly ev­ery shot is a mo­tion-con­trol shot. It was im­por­tant to me that we al­low Os­car Isaac to con­nect on a hu­man level.

What made Os­car the right choice?

One, he’s a bril­liant ac­tor. Also, he has a multi-eth­nic­ity that one could imag­ine could rule Sume­rian Baby­lon or South Amer­ica. And we saw eye to eye on how to ex­plore the his­tory of the char­ac­ter. Os­car wrote some won­der­ful stuff de­scrib­ing his char­ac­ter, and some of that made it into the script.

Is it of­ten that col­lab­o­ra­tive?

I give the ac­tors some lat­i­tude. Michael Fass­ben­der walked in one day and said, “Can you please not call cut?” After the words were done in the script he kept go­ing with this idea he had, and I was brought to tears. When Michael de­cided it was over I gave him a huge hug and said, “Thank you for that gift… but I need you to do it again, be­cause I need to move the cam­eras around!” And he did it flaw­lessly again. I was like, “Holy shit!”

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