![]() …yeah, so that scene’s a really good example of character-motivated action. That’s what I thought was interesting about the scene with Eric in Poland… If it’s just action for action’s sake, let someone else do that movie. That’s the one thing Simon and I are very strong on – character, story. We try to make sure that all our action is character-motivated. I’ve always had a knack for it, from the first X-Men at least, when we didn’t have the toys and the facilities and visual effects we do now… now we have that. So it’s all about coordinating geography… it’s a bit like a dance. ![]() Like, if you put one character up against Cyclops, he just takes his glasses off, it’s over. No, the dance we play when developing the script is, as is always the case with the X-Men movies, when the action starts, who is fighting who? Because if the wrong characters are fighting, the fight will end very quickly. But that’s more internal.Ĭan you talk a bit about the way you conceive the action sequences with Simon Kinberg? We don’t touch on it in the movie, but to me there’s almost an alien aspect to it – so in designing the costume I thought about that. We would exchange songs that inspired the character. Oscar and I had long conversations about history, about religion, about cults. That’s what Apocalypse represents – it’s in the name. That’s what ultimately ensues on a global scale in this movie. Whenever someone tries to view themselves as higher than everyone else, and more than everyone else, it’s a recipe for problems, conflict, disaster, wars, death and destruction. Well, I think it’s more the idea of false gods. There was a lot of fun for me personally, stuff that I jazzed on when I was a kid in this movie.Īpocalypse himself, and his whole thing about survival of the fittest, his almost eugenicist approach to the planet – is that your response to the world at the moment? It feels as though there’s a lot of division around, but this film’s about collectivity. So to be able to recreate some of that in ancient times and have it inform the character – the idea of pyramids creating energy and power, which is something theorise – I got to use a bit of that. I always dreamed of going to Egypt but I never got to go. And I was also an Egypt fan, meaning when I was very young I built a sarcophagus, I read all about King Tut, the whole Nile Delta, the Giza Plateau – these were things were so interesting to me as a kid. That was my chance to build some really cool stuff, both exterior and interior – I call it the Well of Souls because I’m an Indiana Jones fan, of course. ![]() It felt like it! When we did the Egyptian scenes, we had thousands of people on set. The period scenes in Ancient Egypt – those gave you a chance to channel a bit of Cecil B DeMille, perhaps. ![]() So yeah, it was just a really nice era to play with. The imagery from the comic book, in certain characters and their costumes, just the overall design. You know, I always like the X-Men films to be very much grounded in reality, but here I could get closer to the comic book, I felt. So I kind of brought a sense of colour to the film that I was more cautious about. This one, also, when I was in high school – this was when I discovered my love for movies. ![]()
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