Superman Returns Set Visit – Part 5

After having shown us the San Diego Comic Con footage earlier in the day, Superman Returns director Bryan Singer again visited with online journalists at the Sydney Museum for a more formal Q&A. Naturally, the discussion picked up with the cliffhanger from our previous discussion:

Q: So we we’re hoping you could start with finish the Fox story for us…

Singer: Wasn’t that so convenient that I got pulled away in the middle of that story? [laughs] You guys saw Brandon and talked to him and stuff? Isn’t he great?

Q: Yeah, he’s got a great understanding of the Superman character. He’s very nice and very honest.

Singer: Yeah, his energy and in general, his personality is wonderfully in depth and, I don’t know what the appropriate word is, but it’s like very in synch with his character. It’s been awesome.

Q: You seem to be good about finding new talent. Can you comment about that?

Singer: Yeah, I’ve had great luck since “The Usual Suspects” with Benicio [Del Toro] and Kevin [Spacey], with Hugh Jackman, with Ian McKellan, with Halle Berry at the time- yeah, I saw her in “Bullworth” and I fell for her. With Hugh Laurie in my TV show… I wasn’t even familiar with his work he’d done in England, so for me at least, in terms of, yeah, I’ve never been afraid to have an unknown or lesser known actor at the center of my movies or in the case of “House,” in my TV experiences.

Q: Why did you want to cast an unknown actor as Superman?

Singer: Because Superman is such an iconic character- he should feel as though he stepped out of the pages of a comic book or out of your collective memory of the television series or the motion picture. And an actor wouldn’t do that- an actor would be “such & such as Superman” as opposed to the character larger than any actor.

Q: And he’s such an iconic character, Christopher Reeve played him in such an iconic way, how do you not feel pressure from that?

Singer: It’s just part of your collective memory of who Superman is- it’s a big part- and in the case of Christopher Reeve, it’s an enormous part.

Q: Did that affect your casting choice of Brandon Routh?

Singer: Oh, absolutely as did George Reeve, as did the comic book but, yeah, of course.

Q: Brandon does have that Christopher Reeve thing…

Singer: Oh yeah, in certain ways it is quite remarkable and in others it’s different. And because this film puts the Donner film in its history, it was even more important that those qualities be in Brandon than even more important than others. He should be his own guy.

Q: Did you ever meet Christopher Reeve?

Singer: I didn’t. The only time I was near him was at the Cannes Film Festival in 1995. I was eating lunch at the hotel and he was sitting at a table, a couple of tables away and then I got up to walk around the grounds, there are these beautiful tennis courts at this hotel and I wandered by one of the tennis courts and saw him playing tennis, and I sat and watched him play tennis for 20 minutes and a week later he had his accident. I found that very disturbing. I’ve never forgot that. I just thought to myself here’s how quickly life can change for someone.

Q: I said to Brandon, whether you meant it or not to put a political aspect in this movie, Superman is the most powerful man living in America, he helps people when maybe they didn’t ask for help and we may not want him to help anyone. And we have reporters saying we don’t need him. So whether you meant it or not, there are political aspects to this movie.

Singer: Well, sure, it’s not really intentional per se, Superman has always culturally reflected the times, I think, since the second World War if you look at the comic and what was done in terms of propaganda. I like to see Superman as a more global superhero- he happened to have been raised in a farm in America and I think he has a kind of, the whole notion of fighting for Truth, Justice & The American Way is kind of an idealism that Americans very much have about themselves and about their place in the world. But that idealism ultimately fraught with obstacles and sometimes misunderstandings and sometimes wrong moves, but it’s idealistic and that’s why in the first movie it’s so charming when he says, “Truth, Justice & The American Way” and she says, “Oh, you’ll end up fighting every politician” and he says, “You don’t really mean that Lois” and she says, “You’ve gotta be kidding” and he says, “I never lie.” In that way he’s a very American superhero but in our movie, I’m trying to make a point that in the same way he’s the great American superhero, he’s also the ultimate immigrant. He comes from a foreign land, essentially he dons the clothing and embraces his special heritage in many ways and then at other times tries to adapt with culture by being Clark Kent. His multiple personalities are very much of the immigrant which is very much what the heart of what I see the American immigrant as, kind of a mixture of different cultures.

Q: There’ve been so many Superman stories over the years, so how do you find a different way to tell the story or unique perspective to the character to keep him fresh to the audience?

Singer: I conceive a new story, have it take turns that you don’t expect and this Superman’s been gone for a period of time and he’s come back to a world that’s moved on and learned to exist without him and that’s what different about this movie than the other Superman stories you’ve seen at least in the television show and in the movies. He’s been gone for years, Lois has moved on- she has a child, everything’s moved on- so that’s, I guess, that’s the take, that’s the new part of the take and yet there are things that will be familiar, as they should, because it’s a Superman movie.

Q: You’re doing a very retro take on the character, with the look of the costume and the city, why’d you decide on that take?

Singer: The comic was originated in the late 30’s early 40’s and I just felt like a time- there are two great times in cinema I think, the 40’s and the 70’s, the 70’s is always so informative to me because those were the films of my childhood and the 40’s is appropriate for Superman.

Q: Do you think that’s the best era in Superman history, in terms of stories and the arcs?

Singer: Um, no, I think it’s just one era and my personal favorite, well I like a lot of artists interpretations of Superman, and also Alex Ross – very mythic- he humanizes but yet makes them into these paintings. But no, I think it’s just one y’know and if you look at it [the early 40’s stories] some of it is just quick and cheap.

Q: Did you have access to the Superman vaults and did you get to see everything?

Singer: Everything. Anything and everything. One of the unique things to see, which was very exciting for me because I need to use elements of Marlon Brando for this movie, I was able to view all the material that was shot and listen to all the original ADR sessions. They’re very funny. [in Brando voice] “This is no fantasy. This is no careless product of wild… oh, f**k… f**k… what is it?” [laughs] A lot of that [laughs]. To have access to that was great.

Q: Will all of it be available for you to use in the film?

Singer: Yeah, we had to make a deal with the estate of Marlon Brando. There’s a sequence- it’s not a big deal particularly – that requires the voice and image of Marlon Brando not necessarily in ways he was ever photographed, but I require certain audio elements and certain visual elements to go back into the original stems and to have access to that, you’ll be hearing certain vocal elements that were not used in the film.

Q: You said that you were going to be using John Williams score in certain ways but also that the Fleischer cartoon and George Reeves series inspired the look of the film and the feel, so have you ever thought of using any of their thematic cues?

Singer: I thought of that, the one from the Fleischer’s, which is really weird, because if the Fleischer cartoons didn’t have that theme going in them, they’d be really dark. Because if you just watch them and they’re like really intense and graphic too. In anything he’s doing, his interactions or the way he transforms, he doesn’t quickly “woosh,” it’s all very, because he was rotoscoping. It was some of the first rotoscoping ever done, but the music is so uplifting. I’ll talk about John [Ottman] and that’s his universe and his palette, but I’m sure I’ll expose him if he’s not already to some of that material, but we have cameos from Noel Neill and Jack Larson, things like that. There are a lot of nods in our backdrop. You see Siegel here, Shuster there, and this and that, so I’m sure maybe that’ll find its way in, we just have to see about certain rights issues and who has what, what’s available and stuff. But the John Williams music is very important. Even though John Ottman will create an original score and a lot of very new thematics, without having access and being able to use some of the John Williams themes, I would feel reluctant to do the movie because, to me, they’re like Star Wars.

Q: It’s all classical score? You’re not using any pop music, are you?

Singer: Yeah, it’s classical.

Q: Do you have anything against pop music?

Singer: No, nothing against pop, but you’ve seen my movies- they’re the same approach.

Q: I’ve seen a lot of bands that have said “I’ve written a song and I’d love for it to be in the film” and…

Singer: Yeah, that’s not going to happen. I’d be perfectly excited to see albums inspired by the material, things like that. If you Google how many songs have references to Superman, it’s enormous.

Q: Will the Williams theme play over the opening credits?

Singer: The opening credits will be a theme, if not identical, very similar to the opening credits of the first film.

Q: Will it be limited to the opening credits or spread throughout the film?

Singer: Oh, throughout the film.

Q: The opening credits of the first film featured original artwork that introduced some concepts, so what kind of idea are you going for with the credits in this film?

Singer: An idea very similar in spirit of the Donner film but with more information in it, so not just the credits, but there’ll be more information in that’ll help us catch up to what’s been going in the world regarding Superman through its history. Something like that. I’m designing it right now. I’m working with Digital Kitchen, who did my opening for “House” and they’re really terrific people and we’re finally getting it every so often. It’s not immediate but we’re getting there and dealing with them and I wish I was there cause it’s always by phone.

Q: A film creator has three sides- one has to be idealistic when you’re keeping your vision pure, then the real person may be like Clark Kent and you also have to be ruthless and even mean sometimes like Lex Luthor [laughs]. Do you see these guys as being you? Superman, Clark…

Singer: -and Lex? Mmm, no. If I ever was going to identify with something, I wouldn’t want to identify with Lex Luthor- he’s kinda crazy- and it would be more the three sides of Clark Kent. There’s the side that’s very idealistic, there’s the side that is the real side that was raised on the farm that just understands the balance of life- excuse me, I apologize. I’m confusing myself. There’s the idealistic side that was raised on the farm in Kansas, who has hopes and dreams of everything working out for his family and for whatever his adventures are. There’s Superman who feels the need to do everything right and please everyone and solve problems and feels a compulsion to do that as a filmmaker. And then there’s Clark Kent, which is where I hide and have to- so Clark Kent and Superman are more jobs and the original Kent on the farm guy- Randy and I were having a conversation about this very notion, that’s why I can kind of articulate it, it feels weird, I don’t normally compare myself to Superman but you’ve asked the question – it’s sort of like the honest person, the close friend, that’s still the guy on the farm, that’s why I’ve got a small group of friends and I’m not in need and stuff. Yeah, Lex Luthor, I’m not a particularly ruthless person. I’m just very focused and I can be very intense.

Q: You’ve got Superman fans who are 8 years old up all the way up to 80 years old. Are you trying to make this movie something with broad appeal, something family friendly?

Singer: Yes. Absolutely. It will not lack in intensity, it’ll probably require a PG-13 but at the same time, unlike “X-Men 2,” which had issues where you’ve got Lady Deathstrike carving into Wolverine, there are things in this movie like, there will be no lack of intensity but at the same time the violence, the tone of it will be much broader. This will be something older people will be able to visit and people will be able to take their little kids to, but at the same time I don’t think you’ll be disappointed at all in the level of intensity. It won’t be a soft Superman but it will be a much broader- it’ll be the broadest, most romantic and funny movie I’ve ever been involved with.

Q: You’ve been credited with raising the level of comic book movies to a level that the comic books themselves have been trying to achieve, which is being an allegory or metaphor for important things and meaning something to people. What is it that these kind of films allow you to do that straight, dramatic films wouldn’t allow you to do?

Singer: Science Fiction/ Fantasy has always enabled people to tell stories about bigotry, about totalitarian governments and subversive issues of sexuality and gender and so many things. I think ‘Star Trek’- Rob, correct me if I’m wrong- featured the first interracial kiss on television but that’s very important because under the guise- because science fiction and fantasy lets you talk about the human condition from such a unique perspective that the spectacle and, for lack of a better word, the adventure of it all, kind of overwhelms the message, but the message is still there. It’s no specific agenda on my part, but you should be making a movie about something. There’s a personal reason I’m making a Superman movie- I can promise you it’s not the money- and it’s not simply that “Wow, it’s Superman.” For me to spend this amount of time and this amount of life force on a movie, there’s got to be a personal reason- there’s a very personal reason I made “X-Men,” there’s a personal reason I made “Apt Pupil” and there’s a very personal reason I made “The Usual Suspects,” although that errs more on the side of, “Wow, this is going to be cool.”

Q: Working on this film for so long, do you still get excited?

Singer: Oh yeah! You see it in the dailies, I can see it in the cut scenes and I can see it in how the film is evolving. And then sometimes I even see it in the advertising.

Q: What is driving you to do this project and why does the character appeal to you?

Singer: It’s personal, just like the reason I did the other films. It’s just personal to me. I can tell you that an aspect of it is that I’m adopted, I’m an only child and to go back to what you said, in my life, the growth of my life and career has been strange, to me, to deal with, it’s very weird, so in this way the character appeals to me very much. He says a line in the movie, “I can’t be that guy anymore in living there,” he’s referring to Metropolis, “I don’t know if I’m that guy anymore”. And she says, “Well, your father used to say you’re here for a reason and it wasn’t to work on a farm.” Things like that.

Q: When are we going to see a two disc DVD of “Apt Pupil?”

Singer: When’s the one disc “Apt Pupil?” [laughs] Is there a menu on that DVD? [laughs] I’ll do a running commentary. We have to do a whole “Apt Pupil” thing. The “The Devils” and “The Music Lovers” we’re gonna get re-released- we’ll do a whole thing.

Q: Do you think having all this success before helps?

Singer: Yes. If you’ve worked with me over the last decade, the collaborators who I’ve worked with over a decade – Tom Sigel, John Ottman, people like that- I think I have because like I’m less afraid. Because you feel like every film you get involved in- at least I do, I don’t know how other film makers are – but each film I get involved in, I feel like it’s my first and my last and I treat it like that and so it gets you very stressed when things aren’t working and you feel enormous amounts of pressure and then I get, sometimes positive intensity where I’m like, “Yeah! OK, let’s get this, let’s get this!” And sometimes negative intensity. It’s like, “Why did this happen?” And I’ll never suffer the big things- the big things I’ll just be very Zen about, like, “Oh my goodness, such and such is sick and we can’t shoot and we’ve got to rework the entire schedule until they’re better.” That I won’t suffer. It’s a huge problem that we’ll solve. It’s the little things that drive me crazy.

Q: Do you feel like you’re putting out a lot of fires or that you’re planning enough for the job to do that?

Singer: It depends on the day. Sometimes yeah, especially the bigger days- the bigger the show gets the more you’re involved. I’m producer as well as director. But ultimately when you’re the director and you fail, very often a lot of people will walk away from you or walk away from the picture but the director has to live with it, both in the public eye and also in your private self, because it’s your film and so you get very stressed when things are not working out as well as they could be. But on this show things are working out quite well, we’ve got a great team.

Q: Is there much of a difference in directing Marvel and DC characters? And how do you think their universes compliment each other?

Singer: I really wouldn’t know enough about the differences in between Marvel and DC characters. I don’t view them as Marvel and DC because I’m not that familiar with all the characters enough to really comment on that because I bet if you went into the DC universe, you’d find some, what’s the word… what are Marvel characters supposed to be… very ‘angst ridden’ characters and then if you looked in the Marvel Universe, you’d see some very sort of black and white heroic characters. But there’s definitely a difference in making an ensemble film like “X-Men” versus making a film that is about one man and although there was romance in “X-Men,” “Superman” is a love story.

Q: Do you think you get to flesh out that one character more, make him an ensemble in a way?

Singer: Well yeah, fortunately he is three characters and that’s interesting to me- farm Kent, Planet Kent and Superman. But it’s a different kind of filmmaking- I remember going from “Usual Suspects” to “Apt Pupil” was very interesting to me because I went from this whole group that I could, even though it was set around two characters, to “Apt Pupil” which was basically a 60 year old man and a 14 year old kid and that’s all I had. There’s nothing else to cut to, except the cat every once in a while. And here, here there’s more of a cast of characters, the villain does all these things, but I don’t look at them as separate universes.

Q: Is there anyone from old Superman series like Mark McClure, other than Jack Larson and Noel Neill, that we’ll see you using in “Superman?”

Singer: I would consider all of them. Yeah, I would love to have everyone, but there’s just not enough [roles]. If I could find something, I’d work it out, it’s just there are only so many roles that are appropriate. What you’ll notice in, what I believe at least, in the Larson and Neill cameos, is they’re fun characters, they’re not simply just like “Hi, look, a cameo!” They actually serve a function in the story and they’re real sweet. I think you see it with Jack Larson for a second in the [Comic-Con] reel, which is wonderful, cause he’s got a scene with Sam Huntington [Jimmy Olsen in the film].

Q: Kevin Spacey is an actor and a director, so now you’re directing a director, is that a different experience for you?

Singer: No not at all. He’s coming to this movie after we’ve been involved a year or so. For him it’s just a joy to sit back and just have fun being this character and it’s actually very interesting- it’s like no time has passed in the 10, almost 11 years since we’ve worked together and we’ve had more fun than ever.

Q: We can tell!

Singer: Yeah! Every day! Cause we’re running to the monitor…The one thing- because it’s this kind of movie, this kind of character, for him it’s more fun to kind of run to the monitor and look at a take cause each thing he’s doing is so funny or strange or sinister that it’s just fun and for him it’s a joy. Cause he just comes in and he’s this guy. He’s very thoughtful about it and cares a lot about it and he shaved it off, which I will tell you was very strange. I went to look for him and I was walking towards my trailer in the park in that big quad area and I look at this guy staring at me just standing by a tree and I think, “Oh, he’s a crew member I’ve just never seen before” and I keep walking and he’s staring me at me awfully and I was like, “AHHH!” and it was him with his head shaved. That was the first time I’d seen that and I just completely didn’t recognize him, neither did Dan or Mike and they were all walking with me.

Q: We’ve heard he has a Lex Luthor golf cart.

Singer: Oh, he does and he tied a doll of Superman to the golf cart and drove it around with Superman dragging off the back of the golf cart with a megaphone screaming, “Kill Superman!” or “I’m coming to get you” or something and then he drove right on the set and crashed it into some chairs [laughs] with me on it. I got to ride on it- suddenly he’s driving it and then I just jumped on. Yeah, this really happened.

Q: Besides having gotten better as an actor, how has he changed acting wise or directing wise or anything?

Singer: Directing wise? Directing him wise?

Q: You directing him.

Singer: It’s very similar to when we were shooting in ’94. It’s completely similar. I’m trying to remember. And you know what, I got a sense that it would be similar because when I was directing the pilot of “House” in Vancouver, he was making a movie called “Edison” with Justin Timberlake and Morgan Freeman and I visited the set of that and he spent a day on the set of “House. And the two of us were sitting there behind the monitor while I was directing “House” and his energy….I just knew this would be really comfortable. I think he’s more comfortable and he’s a great ally with me, like he was on “The Usual Suspects,” which was a very scary time for me because it was my first film and he was like my friend cause I knew him. I put him in the movie before anybody and we were friends for years before we started making “The Usual Suspects” so it’s kind of the same energy but I don’t feel any difference except maybe his confidence but I don’t notice it any different because, remember, I was a kid and he was on a TV show, what was it, “Wiseguy”. So it’s sort of, we’re in the same place except different places. I don’t have two Academy Awards.

Q: You met with Al Gough and Miles Millar, the creators of “Smallville”…

Singer: I did.

Q: Like, what was involved and why did they come out to the set?

Singer: Originally we first met in Los Angeles, out of respect for the fact that Smallville had held the torch for the last five years of the Superman universe. Instead of alienating that show and that effort, which is incredible, it’s an amazing show, and instead of just making our movie, I thought it would be nice to sit down and talk to them, because they’re great guys and just talk about what we’re doing and then they would in turn talk about what they’re doing and so far we’ve just sort of kept in touch so we don’t tread over each other’s universe and I’ve kind of respected that universe. You’ll see Clark when he’s young, before the Tom Welling years, you’ll see him when he’s Superman. In our timeline I try not to tread over the universe they created, so part of that relationship was, “Hey, do you want to come out?” They send us scripts, they send us outlines of what they’re doing and likewise I tell them about designs, I’ll send them a few of our designs cause they’re getting the Fortress of Solitude. They’re two separate entities- don’t misunderstand me, they were two separate things- but we should co-exist in the world so part of them coming out was like, “Come on out. Let’s hang out, let’s talk” and we’re friends now, too, so it’s sort of like, “Come out and see all the stuff”, and they got pumped and we all went out to dinner and took them around, showed them stuff and it’s very exciting.

Q: Did you ever consider Tom Welling for the part?

Singer: No, not for any bad reason. Just because I never considered anyone known so when I’m asked that question, it’s not meant to be dismissive in any way of any actor, it’s simply it had to be an unknown. So whoever those other actors, Jim Caviezel or those other written about actors like Tom Welling, they were never in consideration for that simple reason and for no other reason. Not that they’re not right for it or anything.

Q: Did you have fun writing the X-Men comic?

Singer: Yeah, so far, the outlines are really cool and we’re stilling doing it, the first two issues are in process and it’s fun. It’s the stuff you can’t do in the X-Men movies, it’s really that stuff.

Q: You ever consider doing a Superman comic?

Singer: Yeah, sure.

Q: Can you tell us about “Logan’s Run?”

Singer: Ummm, what do you wanna know?

Q: Where are you at with it?

Singer: I do my little reading/writing sessions at the Starbucks on Oxford. It’s a re-envisioning that basically takes the movie, elements of the book and a kind of original idea of my own and merges the three. Currently Chris McQuarrie , who wrote “The Usual Suspects,” is doing the current draft for me. We’ve pre-vis’d about 40 minutes of it and rendered certain shots of the universe into their full – if this wasn’t a Superman thing I’d show you something in the theater, but it’s not appropriate. It’s pretty cool.

Q: Henry Cavill is someone mentioned a lot in testing for “Superman Returns”- is he under consideration for “Logan’s Run?”

Singer: I know Henry, he’s a great guy, a terrific actor. In this world, he may not be the age – I haven’t determined the age that you go to Carousel, but he may fall over that age category. The script that I’m actively involved in has somewhere between 21 and 30. The book was 21, the movie was 30. Somewhere in that, depending on the casting. But I should steer this more towards Superman. [laughs]

Q: Would you consider doing a Superman sequel?

Singer: You take each of these as … fortunately I’m not an actor, so I don’t have to sign multi-picture deals, which is the one blessing about being a director, because you can decide at the end of an experience if it’s the kind of a thing, but of course I would consider it, I was perfectly thrilled to make a second X-Men film. I have ideas for it, but that’s about it, for a Superman 2.

Q: From what we’ve heard of the script and production, the film is about 2 hours long. Would you consider an extended version ever?

Singer: I don’t know, I don’t know. I’m not such a big fan of longer, extended versions but I’m sure there’ll be a few outtakes.

Q: The Donner films are obviously very important to you and these films, but what perspective do the comics play? How do they give to the movie, besides the three main characters?

Singer: Just looking at things that he can do, moments that you’ve seen. It’d had such a history so he’s done pretty much everything, so what I do is I tell my story and then in the action or in the moments or sometimes in the framing – and if you’re on the street, for instance, in the middle of Syndey – you’re gonna see this on the Internet 20 seconds after it happens [laughs] – you’ll Superman doing something very familiar to all comic book fans of all comic books – unavoidably on the street, which I shouldn’t – but I’m gonna be on the street with Superman a few days from now or something. By the way if it looks crappy in the pictures, it’s the pictures! Nah, nah it’ll look pretty intense on the street.

Q: Which Superman villains do you find creatively interesting for future films?

Singer: Well the video game is very interesting, because I’m involved a bit in the video game that EA is doing and it’s a next generation console epic game. That is where you can utilize the more fantastical villains and the more fantastical scenarios that we weren’t able to do in the movies, so that’s kind of fun in working with EA and the video game is that we can explore all those. I don’t know about the future films, I couldn’t tell you about that.

Q: How much recording have you done for the DVD?

Singer: 300 hours?

Q: Are plans for the DVD already in motion?

Singer: Yeah, yeah, Rob and I talk about this all time. Rob’s been producing my DVDs since “The Usual Suspects” re-release and done a great job and there’s always something new. So we talk about that frequently, make proposals, talk to Warner Bros and see things they’d like to do.

Q: What about your Superman documentary?

Singer: We’re negotiating that, so I hope to do a documentary about Superman but we’re negotiating that right now, it’s not particularly official, but Kevin Burns and I – not Ken Burns- who did the Star Wars stuff, is working with me.

Q: You’ve mentioned that “Superman Returns” deals with the notion of Superman as a messiah, so are the elements of “Kingdom Come” in that?

Singer: No, I think a little bit of that, “Quest For Peace,” the awkwardness of trying to be everything to everyone, that combined with the- yeah, that’s interesting to me and how people rely on heroes and all these things, but ultimately it’s all reflected…it’s the intimate story. It’s Lois and Superman. And what’s great about Clark is that Clark has to watch it all happen as the invisible guy at the office and it’s maddening.

Q: I love the little moments on his face, the expressions, like little moments inside of moments.

Singer: “I see you met the munchkin?” and he’s like, “Great.”

Q: Then you see the picture cracking…

Singer: Yeah, it’s funny. You see the scene and Jimmy Olsen’s like, “I’ll take that. She’s got plenty.” Everything’s a dig. But in the end, he’s [Superman] trying to find his place in the world and that’s what’s going to be unique- you asked what’s unique about this Superman- it’s a different kind of journey of him finding his place in the world and that’s ultimately what he’s gotta do by the end of the picture.

Read Part 6 of our visit, an interview with Kate Bosworth!

Superman Returns opens in conventional theaters, IMAX and IMAX 3D on June 30.

Source: Scott Chitwood