Tag: henry cavill
Just because Henry Cavill makes a dashing Clark Kent doesn’t mean he’s always Superman outside of Hollywood. In fact, he can have a downright Lex Luthor-like side to him at times when it comes to his love life. Let’s take a look at the darker side of the Man of Steel’s relationship history.
Superman shouldn’t brag
When ShortList asked Cavill whether he wears swimming shorts or “budgie smugglers” (Speedos, for the uncultured), he replied, “Definitely, definitely swimming shorts. More like a parrot smugglers. A Macaw or something. Perhaps a large bird of prey. Bald eagle. There you go.” Remember the old adage about protesting too much? That applies to Cavill’s comments. At least Batman’s actors are a bit more subtle with the innuendos.
He likes younger women a little too much
In 2016, Cavill’s girlfriend, Tara King, was 13 years younger than him—and she couldn’t even drink legally stateside! When asked about his barely legal love, he explained to Elle, “People say age is just a number. It’s actually real and true sign of someone’s maturity. But in this case, she’s fantastic. When I met my girlfriend, I was super intimidated. I wanted to impress her.”
He was even nervous about the whole ordeal, saying “I was thinking, ‘Don’t mess this up, man.'” Oh, calm down, Kal-El. You’re a movie star. She’s a college student. The only risk of immaturity may be Cavill’s own: you know those weird 20-somethings who hang out in high school parking lots? Think along those lines, but even older.
His last girlfriend was pretty sketchy
Cavill’s last girlfriend before King, Marisa Gonzalo, didn’t seem like a match for the actor at all. Why? Cavill is a self-proclaimed and well-documented animal lover, and Gonzalo, well, likes to post pictures of herself posing with animals she killed hunting. Celebrity Dirty Laundry reports that Gonzalo frequently leaked photos of her excursions with Cavill, and that the pair met at a Michigan gym while he was filming in the area. Once Cavill got wind of Gonzalo spilling on their affair to press, he called it quits on the relationship.
He can’t decide what he wants
While Cavill’s tastes lean towards younger ladies now, he admits that he dated a 32-year-old woman when he was 19—and he still isn’t quite sure what to do with his heart (or, uh, his bald eagle). He told Playboy, “It’s tough for anyone to be in a relationship with someone like me. It’s a tough lifestyle. If I want someone who’s a professional, they’ve got their own s*** going on.
So unless I meet someone who’s very, very young who hasn’t yet started trying a career like that, you can then go, ‘Okay, I’m going to travel with you and do some stuff, maybe I’ll write or whatever; I’ll entertain myself or build my own kind of travelling career.’ I’m looking for someone who’s my own age and will have a career. If they haven’t, then maybe I should be worried. It’s easier said than done.” We hope he finally finds her.
He won’t stop talking about sex
In an interview with Jimmy Fallon in August 2015, Cavill was asked about his workout regimen. Cavill responded, “For cardio… run? That’s the savory answer.” We all know what he actually meant, especially when he looked around suspiciously and said, “It burns a lot of calories.” That same month, he told The Guardian that playing Superman is “like shagging someone for the first time. Sometimes it turns out to be amazing. Mostly you’re trying to get each other’s rhythm going. It’s on the next go that you start to expand.” Cool it, Kent. Jimmy Olsen might be listening!
Bursting with Olympian deities, sweeping battles and breathtaking vistas, Immortals demanded a larger-than-life production style. From its inception, the film’s creators knew that to bring the dynamic story fully to life, it would have to be a 3D movie—and not just an ordinary 3D movie. “Tarsem has a rare kind of vision,” says Tucker Tooley of Relativity Media. “He looks at the world through a different lens and brings something to the story you would never anticipate. To realize that unique point of view, we designed the movie in 3-D from the beginning. We tailored everything about the film to maximize the stereo effects.”
However, shooting the film using conventional 2D cameras and creating the 3-D effects in postproduction gave the director more control of the depth and dynamic range than would have been possible shooting in 3-D. “Every element had to be considered,” says Tooley. “Before we shot a single frame, we designed our foreground and background elements in a way that optimized the dimensionalization process.”
Singh worked with senior stereographer David Stump of 3DCG to develop a detailed depth budget and depth script that helped ensure that the look of the picture conformed to the director’s vision. “You can see the difference immediately,” says the director. “We took the time and, most importantly, put in the planning to do it properly. Some people are calling this a game-changer.”
The movie’s groundbreaking look was executed by Prime Focus, the 3D effects house that had previously dimensionalized such blockbusters as Star Wars: Episode One – The Phantom Menace and Harry Potter and the Deathly Hallows: Part 2. Recent advances in technology, including Prime Focus’ proprietary View-D software, allowed Singh the flexibility to create visuals unlike any that have been seen before.
With 4,000 artists and technicians spread across three continents, Prime Focus dedicated significant resources to realizing Singh’s ambitious vision. “The great challenge in every movie is really adapting an entire team of artists to meet the needs of that director,” says Prime Focus marketing executive Bobby Jaffee. “What George Lucas or Michael Bay want for their movies has nothing to do with what Tarsem Singh wants.”
“Tarsem’s input was the basis for everything we did,” Stump says. “He asked us to give the characters a sense of volume and form. The key word was sculpture. We wanted the characters to look like they were really right there in front of you as opposed to on a screen.”
For Singh, the technology proved an organic extension of the unique visual style he has developed over an award-winning career as a commercial and feature film director. “The story could have been told in many different ways,” he says. “But my aesthetic really lends itself to 3-D. My shots tend toward tableaux and I normally shoot longer masters, both of which are very effective in 3-D. I don’t do a lot of fast cutting or extreme close ups, which don’t work well in this format. So in the end, I didn’t have to adapt my vision for 3-D; it was a perfect fit.”
The dimensionalization process can be slow and arduous, Stump acknowledges, but it brings big payoffs in the final product. “It took months and months of work. But creating stereoscopic 3D content in postproduction gave us more control. We could place anything anywhere we wanted. In fact, we not only could, we had to, because nothing lands in the right place accidentally.”
As Singh anticipated, 3-D ultimately suited his inspired visuals perfectly. “It was a quite a benchmark we had to reach,” says Merzin Tavaria, co-founder and chief creative director of Prime Focus. “The detailing of the sequences, particularly the Titan sequences, was an exciting challenge. In the end, we were very happy with the product and that we were able help Tarsem achieve his vision.
“At every interval we would send shots to him and confer on how he would like to shape it in 3-D,” Tavaria explains. “We worked with the depth of each image, foreground to background, and how it could be positioned in 3D. That enabled us to push quality to an extremely high level.”
The finished film has depth and volume never before seen on screen, according to Ken Halsband, executive in charge of production for Relativity Media. “What’s new and unique about this particular picture is that we succeeded in creating an artistic looking 3-D movie,” says Halsband. “Everything from sets to costumes was designed for the ultimate 3-D experience. We used the technology better this time, more painstakingly and artistically than it has been used before.”
Luminous and encompassing, Immortals raises the bar for stereoscopic effects in film. “Tarsem has created an entirely new world,” says Tooley. “With an environment that the audience hasn’t seen, the more you integrate them into the experience, the better it is. The 3-D technology gave us an amazing opportunity to do that.”
Related Link: Read the Full Production Notes for Immortals
Director Tarsem Singh arrived for his first meeting with the producers of Immortals armed with a portfolio packed with reproductions of museum-quality paintings to illustrate his unusual vision for the film. Relativity Media’s Tucker Tooley, an executive producer of Immortals, recalls that this first meeting wasn’t quite what he expected. “He brought in this big canvas and it looked like something you’d see in a museum,” says Tooley. “At first blush, the painting looked very different from how we had imagined the movie, but when Tarsem started to explain, it really made a lot of sense to us.”
He proposed basing Immortals’ visual profile on the work of Caravaggio, the bad-boy painter of the Italian Baroque period. A rule breaker who pioneered the use of live models for religious and mythological subjects, Caravaggio employed a saturated color palette, dramatic lighting, and a feeling of dynamic movement and overt emotion in his paintings. His style broke from the more static work of the Renaissance and earned him both praise and criticism in his lifetime. Singh’s ambitious concept impressed the producers as perfect for the subject matter.
The director worked closely with both the production designers and crew to recreate the luminosity typical of Caravaggio’s work for the overall look of the film. “We call it ‘finger-of-God lighting,’” says Singh. “It’s very focused and seems to come from a far-away source.”
Supervising art director Michael Manson says Singh’s vision and creative courage make Immortals a new and different kind of epic. “We in the art department have a long history with Tarsem, which we cherish,” he says. “I’ve worked with him for close to 15 years, so communication comes fairly easy. It always starts with Tarsem’s interpretation of the script. We take that initial information to research libraries, the Internet and museums. We’ll pull from our collective files for wardrobe, makeup, prosthetics and special effects. Everybody brings something to the table.”
Rather than setting their story in an actual historical epoch, Singh and his designers created an original world for Immortals. “It’s not the Minoan Age or the Bronze Age,” says Charley Parlapanides. “This is the Tarsem Age. It uses the Olympian gods and the Titans, but it has a unique point of view. It’s not a world you will necessarily recognize. For the most part, it is straight out of Tarsem’s mind. He’s made something new and breathtaking, and yet dark and brutal at the same time.”
Costume designer Eiko Ishioka, who earned an Oscar for the spectacular costumes in Francis Ford Coppola’s Dracula, is well known for her designs for film, theater, television and commercials. Ishioka is also a respected visual artist whose work is in the permanent collection of the Museum of Modern Art in New York City. Her iconoclastic worldview falls into the same imaginative territory as Singh’s.
“As far costumes were concerned, we decided early on not to go ‘Classic Greek,’” says Singh. “It would have been counterproductive to hire somebody like Eiko and then tie her hands. There’s no point in telling her, ‘Think outside the box.’ She has no idea what a box is. She comes from a parallel universe.
“At the same time,” the director adds, “this is an action film. I had to make sure that she didn’t make costumes that looked great but couldn’t be moved in.”
The Japanese costume designer, who studied design and art before she started working in film, says she approached the costume design for Immortals as a creative collaboration set in a fantasy world. But she realized that her flights of fancy needed to be based in physical reality and enjoyed collaborating with the actors to make her ideas work in a practical sense. “During the fitting process, my ideas are pretty crazy,” she says. “To make sure the costumes are functional, I ask the actors for help. I feel the actor and designer should collaborate.”
Freida Pinto found the process exhilarating and ultimately essential to the creation of her character. “Eiko designed these beautiful costumes for everybody,” says Pinto. “But it took some effort to make them your second skin. You had to maintain a certain posture in order to make them look that beautiful at all times, but they were essential to taking the film into that larger-than-life realm. I wear this amazing red corset with a sheer red skirt and a black veil. When I put it on, I felt it against my skin and I was very confident about it. There was nothing vulgar about it. It was revealing in the right spots and just the way it needed to be. Her idea of female sexuality and sensuality is so beautiful.”
Kellan Lutz found Poseidon’s ornate costume challenging, especially during the film’s battle sequences. “I wore a big Pisces helmet that was very tedious to fight in,” he says. “It was actually difficult just to act in. I couldn’t really hear because I had these seashells on my head. It sounded like the ocean. I also kept hitting myself with Poseidon’s trident.”
For Ishioka, the most difficult task in creating the costumes was achieving realistic armor. “I wanted to use shiny materials for a mask or helmet,” she says. “But the reflective surfaces would have interfered with shooting on a green screen. I didn’t want it to look fake, like a breast of armor made of wood or that kind of thing. It had to be not too shiny but I also want the audience to believe that this armor is made of metal.”
Ishioka’s original designs are complemented by the work of makeup designer Nikoletta Skarlatos. “Tom Foden, the production designer, sent me a visual tour of the sets so I could start to visualize the people,” she says. “I did a massive amount of research before presenting ideas, because I’m a huge fan of both Tarsem and Eiko. They both inspire me and I knew this would be a chance to do something really extraordinary. In terms of references, I looked at mythology, but I also wanted to create something that had not been seen before.
“It’s a very makeup-intensive movie,” says Skarlatos, explaining that advances in technology have raised the bar for her craft. “3D is very specific and you see things more obviously. High-def and digital shooting magnify that effect. We tried to be very precise.”
Skarlatos worked closely with Pinto to create Phaedra’s look. “The eye make-up is not a traditional Indian look, nor is it a contemporary look. It’s a very different and mysterious look, with certain little nuances that allude to the fact that she is an Oracle, a very special being.”
Hair and make-up helped Pinto slip into the skin of the mystical Phaedra. “They tried these colors in my hair that I’d never had done before,” she says. “We added some extensions and a braid. It made me feel like I was from that period. I would come in with my jeans and T-shirt, get into my robe, and there would be a completely different person there: Phaedra.”
Skarlatos, whose previous credits include Pirates of the Caribbean: At World’s End and Thor, was also involved in creating the blood and special effects makeup. “It can be darkened, but what you see is what you get, so we had to work with the DP to create the right blood for night and the right blood for day.”
Related Link: Read the Full Production Notes for Immortals