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Why did The Amazing Spider-Man go back to mechanical web-shooters? Plus more Dark Knight Rises and Man of Steel set photos!

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James Franco explains why apes are great for scifi, while Emile Hirsch discusses the Moscow-set alien invasion flick The Darkest Hour. A Star Trek captain previews her Warehouse 13 guest stint. The Fright Night screenwriter explains David Tennant's career switch.

Spoilers from here on out!

The Dark Knight Rises

Here are some awesome set photos revealing a massive, blizzard-set fight between Christian Bale's Batman, Tom Hardy's Bane, and what sorta looks like Joseph Gordon-Levitt's police officer John Drake, but we're not at all sure that's him. Anyway, they still look pretty badass, with or without JGL. [/Film]


There are also a bunch of set videos from the Pittsburgh filming. We've put them in this separate gallery.

Man of Steel

Here are some set photos from Plano, Illinois, showcasing some of the Smallville locations - including what appears to be the Kent farmhouse. []


The Amazing Spider-Man

Marc Webb explains why they switched back to mechanical web-shooters. He says they did it to move away from the Raimi Spider-Man films, as well as to establish Peter Parker's intellect. He continues:

"We paid attention to the question of ‘How would a kid make it?' And obviously we took some license with it. We also wanted a design that would make the body longer and more lithe, more of an acrobat, someone incredibly agile, and the legs of the spider [symbol on the chest] were something we used to emphasize that. We made a bunch of different suits for different lighting conditions. I wanted something that worked in the night a little better. We paid attention to that and also made the webbing [on the costume] a little bit darker. With the costume and the web-shooters we wanted to emphasize that these are things that Peter Parker made and that he is special himself even if he feels like he's an outsider."


[Hero Complex]

Rise of the Planet of the Apes

James Franco explains what makes apes such potent subjects for sci-fi exploration, as well as the movie's portrayal of science:

"That pushing of the boundaries of reality is possible because they are so close to us. In movies and books or whatever, they're great metaphors or analogies to how we are and who we are and how we treat each other...I am optimistic about science. The experiments that we're pretending to do in this film are to cure Alzheimer's. I think that's fine. What's questionable about the way the scientists in the film are working is how they treat the animals, how they test the animals, how disposable they are."


[Detroit Free Press]

If you want to read a glowing review and a more-or-less complete synopsis of the film, check out the link. [BestForFilm]


The Darkest Hour

Star Emile Hirsch explains the movie's less than completely serious tone:

It takes itself seriously in the sense that it has these rules, and it creates a world that's real. The characters can fuck around every now and then and make jokes and not give a shit. My guy is a guy who has gone through kinda, you know, water off a duck's back. So when the alien invasion finally hits, in a certain sense, he's more equipped to survive because he doesn't take everything so seriously. He's like, "OK, yeah, let's fucking do this thing." The guy's just dropped dead, but you know what?

So he won't be shouting, "Game over, man!"?
He's the guy who's going to keep his cool. It was a lot of fun to do that. I don't know, you always see all these protagonists in all these movies, and they're just like, "Oh, my God! Wha…" And they're not witty, they're not funny, and they're not smart.


He also discusses the movie's style and Moscow setting:

The style of The Darkest Hour, it's really big, but at the same time you are following these characters. You are seeing these epic city shots of apocalyptic destruction. For the most part, you are only following these five people. You're not like cutting around to different shots of the world. It's not like Independence Day, where it's like, "[doing an exaggerated radio personality voice] And now we see the Great Wall of China falling down! Now the pyramids are tumbling to dust!" It's not like that. So you are in Moscow, you are in it to win it. You see some incredible sights. The cool thing about Moscow is, like, when was the last time you went to Moscow? It's not the kind of place where 99.9999% of its audience is ever going to have been to. So you get an increase of the adventure there. It's not just the aliens you've never seen before, but it's the kind of gothic landscape.


There's more at the link. [FilmSchoolRejects]

Fright Night

Screenwriter Marti Noxon explains why they changed David Tennant's character Peter Vincent from his original incarnation as a TV horror movie host to a sleazy Vegas magician:

Again, it's many years [after the original film], and the people who were watching that movie had a very strong point of reference for Peter Vincent being a TV horror movie host. There are few still out there but it's few and far in between. I was really inspired by the idea that Penn and Teller have this amazing supernatural collection. And I was like, well, who can be a real asset? It has to be set in Vegas, specifically because I have been thinking about that for a long time, having spent some time there. I was out in Park County and these various places, and I was like, where better for a demon to hide out than in Vegas? It's a transient population, people sleep all day and party all night and nobody would notice if people just went missing. I'd already been thinking about Vegas and it was a natural [fit].


Nobody tell Penn and Teller that they have an interest in the supernatural - I can practically already hear the enraged skeptical bellowing. Anyway, Noxon also explains this movie's interpretation of vampires:

I had a specific take on it. And of course the people who designed the creatures and the look then took that and expanded it. You know it's hard because everything has been done and one of the great things about the original movie was how great some of that design was. I think we sort of modernized that, I don't think we tried to create an entirely new vampire. But we definitely had a theme for the vampire. One of the first things that happened when I worked on the movie was they said, yeah, we're just kind of thinking that this vampire is more like Jaws. You'll see some sort of almost shark-like elements in the design.


There's more at the link. [ShockTillYouDrop]

Bond 23

Daniel Craig discusses the movie and director Sam Mendes:

"I think it's a kind of great choice. I think Sam has a fervor and energy to really direct a 'Bond' movie with a capital 'B'. He's just completely feet-first thrown himself into it. He's read every book, and soaked up everything about it. I mean, I've read the script the other day, and I'm more excited about this than I was about Casino [Royale] because we've kind of got a classic 'Bond' movie, plus lots of other things."


You can watch the full interview between Craig and his Cowboys & Aliens director Jon Favreau below.

Torchwood: Miracle Day

Here are some promo photos for the next episode, "The Categories of Life." [Blogtor Who]


True Blood

Here's a promo for episode seven, "Cold, Grey Light of Dawn."

Falling Skies

Here's a promo for the two-part season finale, "Mutiny" and "Eight Hours."

Warehouse 13

Onetime Voyager captain Kate Mulgrew previews her new character Jane:

She has mystical and magical powers beyond all articulation. I play an important part regarding the future of the Warehouse, and also its history. You will increasingly understand her mysterious value to the warehouse and everybody in it.

Tell us more about these powers.
One of the Warehouse's artifacts has fallen to me to be worn on my person. Within this artifact resides a continuity and promise that no other single artifact bears. So I must protect it and it, in turn, will protect us.

Jane apparently shares a special connection to one of the core characters. What can you hint about this?
I would say in my four-episode journey, many perils are withstood and there seems to be a profound awareness the audience cannot understand regarding one of the characters. It is a relationship without which the Warehouse itself would probably have no value.


[TV Guide]

Being Human (US)

Executive producer Jeremy Carver says the second season will diverge even more from the British original. The second season will involve new vampires, new werewolves, insight into the vampire political structure, and romantic entanglements. Carver elaborated further:

"You will see a lot more confrontations with people from their past. If you go over season one, you see flashes of people, names of people, references of people. You will see a lot of these people come out of the woodwork. We never are going to let our characters forget or not confront who they were or what they humans or the vampires or whatever in their lives expect them to be. And so our characters are constantly trying to change themselves for the better and are constantly being called on the carpet from different corners of their world."



Lost Girl


Here's a promo photo for the Canadian import sci-fi series. [SpoilerTV]

Secret Circle

Here are some more cast photos. [SpoilerTV]

Additional reporting by Gordon Jackson and Charlie Jane Anders.