When it got here to S.J. Clarkson‘s approach to Sony/Marvel’s spiderwomen origin story Madame Web, “It all started with clairvoyance,” says the filmmaker.
Clarkson, who makes her characteristic directorial debut right here, has already dipped her toe within the Marvel universe as an episodic director such Netflix sequence Jessica Jones. In truth, it was her visceral work in dealing with female PTSD in a psychological thriller vein that made an impression on Sony Motion Pictures Group Chairman, Tom Rothman who was struck by the pilot’s elevator finale scene.
Clarkson talks about designing a psychic visible, slipstream of pictures model on immediately’s Crew Call:
In addition to the British filmmaker discusses how she landed her killer solid of Dakota Johnson, Sydney Sweeney, Isabela Merced and Celeste O’Connor.
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What floored Clarkson about Johnson, along with being a “grounded” performer was that the actress may drive like a bat outta hell.
“(A director) asks actors a lot: Can you drive? Can you ride a horse? Can you speak French?”
“And you get to set and they’re like, ‘Oh, I actually can’t, I’ve never ridden a horse or whatever,” Clarkson regales.
“She literally was like, ‘I can drive.’ And I was like, ‘Okay, let’s see.’ And on our first day of stunt rehearsal, she did a 180 stop turn and landed perfectly between the two cones. So, I was like, ‘We’re gonna be all right.’”
For all of the rumble on the market that fanboys are turning their backs on female-lead superhero films, Clarkson solutions, “My hope was to make a great film, to make a great psychological thriller within the Marvel universe that obviously has female characters at the center. Yeah, but they’re also great characters. And I think great characters transcend gender and genre.”
In addition, Clarkson chats up her Game of Thrones prequel pilot, Bloodmoon, which starred Naomi Watts.
Madame Web opens on Valentine’s Day with an outlook of $20M-$25M on the home field workplace over the six-day Presidents Day stretch.
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