The Reel Rejects - MEETING DIRECTOR MATTHEW VAUGHN! Talking X-Men, Henry Cavill, New Cinematic Universe, & Argylle!

Starting point is 00:00:00 Meet the most capable CRV Honda has ever dreamed up. The all-new CRV Trail Sport Hybrid. With all-terrain tires and available enhanced traction control, it's built for wherever the day takes you. Heated front seats and a heated steering wheel? Ideal for winter drives and crisp early starts. And with generous cargo space, it's ready for big gear and even bigger getaways.

Starting point is 00:00:22 The CRV Trail Sport Hybrid. Learn more at honda.com slash CRV. Make your next vacation unforgettable. On Royal Caribbean's newest ship, Star of the Seas, it's everything you've loved about every family vacation you've ever been on, with mind-blowing thrills at the largest water park at sea, seven onboard pools for every level of chill, more than 40 ways to dine and drink,

Starting point is 00:00:48 and even more to enjoy at our award-winning private island, perfect day at Cocoa. This is the new Star of the Seas. Click or tap the banner to find out more. I'm doing to my family because we go to Burlington

Starting point is 00:01:02 for the event of liquidation candent. We're going to find the best of the best in articles of

Starting point is 00:01:08 liquidation. From the work, to decoration of the home and much more. With offers

Starting point is 00:01:13 over offers I can go back to be how can't I'm my kids and I

Starting point is 00:01:17 think we can't the because it's very calient for per Burlington

Starting point is 00:01:22 Marks Rebaughes Wow launching a new IP in launching a new franchise, would something like that interest you to wield the power of something like an MCU

Starting point is 00:01:34 or something like your Miller world? Would you go back if you had that much power to mash them together? You know, we're sort of trying to do it with Marv at the moment because we have, we've got Kingsman, we have Kickass, we have Argyll, we have two other things we're making

Starting point is 00:01:48 at the moment as well. But there has to be a reason to do it and it has to be that everything is better with them, not just the gimmick. I came up with the idea of days of future past, but I wanted to do it third. I said it's too early to bring it together. It's too big an event.

Starting point is 00:02:01 We've got to do a second one where we'll bring, let's cast a young Wolverine. Let's have some fun here. Build out this new X-Men universe, and then number three, we bring them all together. And ding-dong, the studio just saw dollar signs

Starting point is 00:02:14 when I gave them the idea and then went phase two, we're going straight to phase three. Short-term, great, long-term, not so great. It's tempting to put all the ingredients into a pot, but they still got to have a right balance. Otherwise, you know, I'm not really that interest in having a, I don't know, I'm sorry, a cheesecake flavored with steak in it.

Starting point is 00:02:56 ass Kingsman and now Argyle. How you doing, Mr. Vaughn? I'm very well. How are you? Doing well. I loved this film and I'm really excited to sit down and talk to it and I'm also a giant comic book fan so I love how much you love that medium. And real quick, for those listening who don't know the plot of it, I'm just going to read your IMDB logline to avoid spoilers because there are many. Argyle is about a reclusive author named Ellie who writes espionage novels about a secret agent and a global spy syndicate who realizes the plot of the new book she's writing starts to mirror real-world events all in real time. To me, this really feels like a graphic novel come to life, and you've done my personal favorite X-Men film, as well as, as I mentioned, Kingsman and Kickass.

Starting point is 00:03:35 In this new Zenith of comic book films, do you find it's more comfortable to do stuff outside of the big two or more things that are original IP or adapted from book IP that feel like a graphic novel, less scrutiny there? I just want to try and do things that are, you know, are original. And, you know, when I was a kid, back to the future, Star Wars, Raiders, these are all new, pieces of, you know, they became IP, but they weren't when they started, or weren't well-known IP, I suppose they were IP, everything's IP. But I, it's more of a challenge, but it's more rewarding. Now, that being said, there are a few comic book characters that, as somebody rang out, said, do you want to have a go with this? You know, it would be a long, hard debate

Starting point is 00:04:15 of the child, in a child going, yes, please, I would love to make a Superman movie. But at the same time when you do these big franchises, I'm not worried about the fans and, you know, and playing with the responsibility of these big characters that are loved, but I am worried about the studio interference that start making you do things that I know the fans aren't going to like, yet you still have to do it. So it is a balancing act between the two, but there are, you know, a few characters that I think long, that could be dangled in front of me that I would definitely be hypnotized by, but who knows where it would end up. I definitely want to talk about comics more later on, but I love what you mentioned about

Starting point is 00:04:58 the studio, and I love particularly with this film, Universal agreed to only show the first 28 minutes in the trailers, and that is an astronomical gift for this film. It allowed the shocks, the surprises, and all those things. But I love three-year descriptors for the film, as I was researching. You described it as an array of sunshine to escape the world, a blockbuster of the heart and a wink, and the perfect date movie. and it's somehow all of these. And I'm wondering with tones that are so disparate on paper,

Starting point is 00:05:25 what was it like directing actors in a film that has so many evolutions of tones to keep them on track through the narrative, especially with like Bryce's role or Cranston's? It's called editing. So on the day, we do two different takes. We dial it up. We dial it down.

Starting point is 00:05:42 And then in the edit, I make sure I've got choices for the total balance because there's a lot of really fun stuff that we cut out. And there's some really serious stuff that we cut out. And it was all just trying to keep the balance where I say, where it's fun. And I do say this and I mean it, but not silly. And now some people are going to argue with that point very quickly.

Starting point is 00:06:00 But I do say, I think it's feel good fun with a heart. And it's interesting watching how people react or zone in and other things. Like a lot of people say, oh, my God, the action is incredible. And I go, what about the romance? Like, ah, fuck that shit. Other people are like, oh, the romance is great. And I go, what do you think of the action? And like, yeah, it's okay. But oh, my God, I love the romance. So it's, it's, it is interesting how

Starting point is 00:06:22 how when you have all these, these ingredients, some people like salt, some people like sweet. You've talked a lot about how the crowdsourced audience are sometimes more helpful than the studio notes. And the studios are really good at telling you what's wrong. But a lot of times the audience is good at telling you what's right. When you're editing, like you just described at so many different levels, how do you know which ones to read? Do you just open up to a bigger crowd or how do you try to play with we do test screenings with you know four or five hundred people in the room and and it's interesting in a test screening half of it you don't even need to read them though you just sit you feel it you know um and on this movie the hardest thing to get right was clarity

Starting point is 00:07:03 you know it was a complicated plot and landing twists and turns and we did a shorter cut where because a lot you know and then people watched the movie and they're like i can't cope with this It's two, bang, bang, the twist and the turns. And then I went against what I'm used to. Okay, okay, we're going to have to put stuff back in. I've never done that in my life. And then the movie gets slightly longer, but we realized a slightly longer movie with clarity feels shorter

Starting point is 00:07:30 than a shorter movie with confusion feels much longer. So the pacing thing was a real lesson to me on this one. And yeah, some people are still reading, watch the movie saying, my God, it's too fast pace for me. And I'm like, really? Gosh. But, you know, some people saying, it's a little bit long, but I'm like, trust me, a little bit quicker, it's not as satisfying. Sometimes, you know, you have a three-course meal. You've got to enjoy each course, maybe have even a little bit of, you know, what is it called a, you know, a paddock cleanser

Starting point is 00:08:05 with a sorbet between each course, and then it's a perfect meal. Or you can eat three cheeseburgers quickly and it's real sick. So it does feel like a lot of different acts in one film and I really like that it didn't have its traditional structure. And I think that's a benefit of how you edited it. And we have plenty of three cheeseburger meals in theaters. But I also feel like the meta narrative of this film really suits your sensibilities. You've had a lot of metanarratives throughout your career so far. But I'm wondering with that, do you visualize like Ellie in pre-production when you're producing a film or when you're writing a film? Do you have that element?

Starting point is 00:08:39 The way I work is you get the script as good as possible. Then I shot list the script, not storyboard I just go through every scene knowing I need this and need that and then I go to storyboard artists because sometimes I find it weird you go to some movies

Starting point is 00:08:54 and they storyboard the drama and I'm like really is this and that I mean you really have to storyboard that but so we only storyboard and stunt viz the complicated stuff

Starting point is 00:09:02 that no one can get their head around so what I'm saying we can do it's dancing with smoke or oil skating all that stuff you got to you know

Starting point is 00:09:10 everyone's like what are you talking about and then we have to and again the idea of doing double action, no one could, I was like, no, that's going to be cool, they're going to blink and we're going to have exactly the same fight choreography, but done in a certain interpretation of Scrappy versus Superstar. So that's the stuff that you have to, you know, really make crystal clear for people to follow. But the casting as well, in all these

Starting point is 00:09:34 characters, is in my head, you know, I'm like script first, starts, you know, shot listing and storyboarding while casting. And once you've got the right. cast and the right storyboard and the right script and the stunt vizers, then we go and make the movie. I mean, do all of that with a much smaller crew, because you don't need that many people to do that. But so when the crew come aboard, the thousands of other people, they have a very, very clear roadmap to follow. And then the directing-wise, you know, the getting through that pre-production very specifically, directing this, there's a lot of elements without giving too much away that are, that are, the director has to navigate having their actor look to

Starting point is 00:10:13 camera directly, like down the lens, after years of actors not being able to do that, how do you navigate that almost fourth wall break that's so direct without a series of bloopers or having to tweak the edit? Again, a lot of magic happens in the edit. And there's a lot of trust. I have to trust my actors and they have to trust me. And I always say, look, we just, let's just try it. It doesn't work. We'll cut it out. But if we don't try it, we can't put it in. Fair. Yeah. And the actors you have here are all so well-versed in so many different mediums and genres. It really plays getting to see them do stuff against type and four-type, depending on the tropes you're playing with. And speaking of tropes playing with the spy drama

Starting point is 00:10:54 is so important to you. And I know how much you love Bond and I know how much you love working with Guy Ritchie on spy films. But here there's so much research into spy operations and certain spy lore. Is that something you did extra or new research for for Ellie? Or is that all stuff you had in your back pocket. I had it in my back pocket, but I had to dust it off and just remind myself of facts. But I obviously love the world of espionage. So it's instinctive to me. And if you're playing in a field that I've been interested in since I was seven years old, it's just fun. I'm playing. I'm playing. I'm saying if you asked me to make war and peace, you know, I'd have to go read the bloody thing. And it looks long. And it'll probably take me a long time.

Starting point is 00:11:36 and I'll probably forget, I'll probably know, I don't think war in peace and I would be a good combination. I haven't even read it, so I don't know, but imagine that back, because, you know, but meaning if you do what you love, is they, you know, to quote Sam Rockwell, if you do what you love, you never do a day's work in, in your life. A perfect tangent for me for Sam Rockwell, man. He's one of my favorite actors alive. He is so interestingly charismatic, like the way he operates in a frame. And the dancing here is maybe my favorite Sam Rockwell dancing, which is the high highest praise I can give a film. What came first, the action set pieces or the casting of Sam

Starting point is 00:12:12 Rockwell? Which developed first? The action set pieces were already written in my mind. And then I thought, well, who could do the dancing, Sam Rockwell comes to mind and, you know, very quickly. And Sam, Sam's very brave and sort of, you know, he's like a, he's a bolt of energy when he comes on and with ideas and enthusiasm. So the two of us could be, pretty day. If we did an R-rated movie together, we'd probably end up becoming NC17 just by default, because we would definitely, it was quite interesting. I had, you know, it was like being an animal house. I had Jason Fuchs, a little angel on my shoulder here, and I had Sam Rockwell as the devil. And every day, the two of them were saying certain things to me.

Starting point is 00:12:58 And I was like, wait, which route am I going to go? How do I land in this cut for Universal if I've got this man here? Yeah. Is he easier to direct action with? Because he's so used to a his body and so comfortable in it? He was surprising how fit and he's a very good boxer and he, you know, and he trained so hard to play Bob Fosse. He was a pleasant surprise how good he was, actually. You've talked about how he can walk in a room and be a lot more incognito than a Henry Cavill or Brad Pitt and how that worked for this kind of spy story, especially some of the action you talked about at the top, the intercut action scenes. When you cast both of them, was it their mutual like unflappable confidence that you thought would mirror each other well? Or what

Starting point is 00:13:36 did you see with them as a pair for chemistry? Again, it was like the perfect sweet and sour that, you know, we have Bryce in the middle as the best fillet of chicken or veal, whatever it's going to be. And I needed sweet and sour sauce to make it delicious. And that's what they are. I love how in every scenario, Sam Rockwell's, the devil's sour, some element of chaos. The hair in this film has been talked about since we saw our first poster, since we saw the first trailer and to be vague without giving anything as we get into the film. But was the distinctive

Starting point is 00:14:12 hair choice an element that would allow us to have some of the twists be elaborated on later on? Was that an early pre-production decision to have some of those flat top cuts? Yeah, no, I wanted to try and create an icon when there wasn't an icon. And so I had to give him a strong look. So you'd go, hey, what's that? And in fact, we could do a poster, an unknown spy, a picture from behind with just a flat top. And everyone's going, hey, what's that? What's the flat top? So it got, he became a mini icon overnight. And I didn't have any enough, well, much screen time to get Argyle feeling like a spy that's been around in the, in our universe for a long time. And, and is a famous spy, you know, so that's why I thought we'll give him, so let's just give him flat top and a Nero jacket. And that's

Starting point is 00:15:00 all he wears. So in the movie, you see him, he's always flat top and Nero jacket. Now in the real world, that that was your look as a spy, pretty dumb. You know, you're going to, he walk in the room. Everyone's going to notice the guy of the flat top and whether he's, you know, in the movie he wears Nero, pinstripe, velvet, you know, he's always, that's his vibe. Like, you know, Kingsman is double-breasted suits and glasses and an umbrella. Argal is flat top, Nero collar. I've heard you talk about wardrobe being so important to characters and I love this

Starting point is 00:15:30 perspective on iconic imagery and how important that is. And obviously, comics, Wolverines, mutton chops are as important as anything. But when you've got a wardrobe that's that iconic and that important, how do you develop it to have it be so immediately registerable to all audiences? You have a certain costume designer you like working with. Do you like looking at source material? Like, how do you develop that? It depends.

Starting point is 00:15:51 I've sort of got, remember, I've been doing this for a long time. So when I see characters, I'm always trying to just create icons. So, you know, I have all the things that influence me. So male characters, I'm pretty comfortable, and I come to, you know, and meet the costume designer, I say, this is the look I want, and then they go off and develop it. And then on the female side, I'm not as strong. And that's where I have my lovely wife, who she goes off and helps me, because I'm not as good as dresses as I am with suits.

Starting point is 00:16:24 Fair. And the iconic haircut, again, being something that we saw so early on, there's another very iconic haircut in this film. And I'm going to be as vague as possible, but it is specifically on a man that is known for other haircuts. And it is a very much so a 90s Superman haircut to me. Was that something that you drew from that iconic era of Superman? Are we talking about mullet man? We are, yes. Yes. So I just think we've got flat top man and then we have mullet man. And all I know, look at this. In a screenshot of like, I don't know, 20 seconds or something, we've suddenly got two icons that you can discuss and that's what i'm talking that's my job

Starting point is 00:17:01 to try and create you know kick us you can a green wets i think it's green i'm colorblind but i think it was a green wet it's branding and it's very important to me and i think in this world the stronger the branding the more chance you're going to get noticed seeing mullet man on that man made me very happy as a comic fan i i'm glad it was uh it it felt right after all these years well there you go thank you so going back a bit speaking of cavil in the the era of stardust he is a total unknown to most american audiences as is charlie cox and i know you're a big comic book fan how was it for you from the outside to see one of your guys become the man of steel and another one become the man without fear it's sort of weirdly satisfying in an odd way it's just not it's it's every time i've

Starting point is 00:17:53 work with someone or Tom Hardy becoming venom, Daniel Craig becoming Bond. I'm sure there's other, you know. Taylor Johnson's Craven now. Yeah, Aaron is Craven. Yeah. I mean, I'm sure there's other one. I mean, that's what's so odd. I'm trying to go through the actors I've worked with to seeing them how they become these sort of icons that I've loved or superheroes or spies. So it's weird. It's also a bit of a bugger because then when I watch the movies, it's not quite as magical for me because I know deep down that Daniel Craig isn't really James Bond or Charlie can see. So that's a little bit odd. You know, the magic is harder. But they're all brilliant at what they do. And it's a lovely, and it's really nice when you work with actors

Starting point is 00:18:44 who are starting their career and they're nervous. And then you see them becoming these mega stars and having such success. You just, well done. them. And even Pedro is his last few years after, yeah, Pedro, yeah, that was like that, by the way, when we cast Pedro and, um, in the Kingsman's golden, golden, what's the golden service? That's how it's how I am. The gold, what is it? It's a circle. It's circle. And when I, um, you know, when I gave Pedro the part, he was so like, no, I really got the part. He was so humble about it. And this guy had been working so hard for so long. And I couldn't understand it when I've I said this guy is a movie star this guy's a fantastic actor he looks great

Starting point is 00:19:27 and I remember saying when you do this movie I knew he would he would just be a rocket for him and and it's great he's a sweet sweet man and it shows in the work to see how much each of these actors has to do in these performances because you are making them icons you are making them their own IP as we discussed at the top and I remember hearing about like Daniel Kaluya and and Taryn and these finalists for Kingsmen and how everyone kind of launched from that point, was there ever a moment when you were making Kingsman that you took a step back or even Layer Cake, going back further, where you thought like, oh, this is the next wave of movie star, this is the next set of these people? And even beyond the superhero IP, is there a sense of like family

Starting point is 00:20:09 where you guys keep in touch with these big announcements? I remember Daniel on Layercake, just looking through the camera, there's an odd thing with movie stars or even musicals, like with Dior Leap as an example, and even just with boy George, which has worked with him on electric energy on this. And you look for the camera, camera, and a star, I don't know how to express, the lens sort of melts around them or they melt into the lens. I don't know what it is, but it is so obvious, right? I mean, I'm not some maestro that sees things that nobody else can. We all see it. You know, that's why they become we're all looking at them in the same way and it's not necessarily they're being good looking

Starting point is 00:20:54 all right as well that's a real you know like jean wahelda uh for example the camera melted on him there is a charisma there's a something and i dare i say there is an x factor there is something a person has that the camera or the microphone or the stage wherever they go on whether they're a chef whether they're an artist just something unknown happens and it's magical and it's alchemy like no other um and so when i cast these people i'm just seeing it for what it is it's not me it's just i'm just capturing what they are oozing um and some of that you know and so i'm not really that surprise and i'm sort of i'm just proud of them and having being a tiny part of their journey i do want to talk about

Starting point is 00:21:43 casting a bit later on because there's so much in the world of casting right now as we're seeing love that comic book films are beyond the medium now and they're becoming their own thing and making something like Argyle launching a new IP and launching a new franchise. But the world of Kickass has its own spin in IP because did you read Mark Miller's new big game event that just happened? Big game event. Yeah. So he just concluded basically all of his world. He just put them all together. So Nemesis, Kickass, Kingsman all came back together in an Avengers-esque event. and he called it big game. So basically, he made his phase one and brought your guys from Kingsman to your guys from Kickass and mesh them together in a fascinating way. And I was wondering

Starting point is 00:22:29 if you could get back into that world. Would something like that interest you to wield the power of something like an MCU or something like your Miller world? Would you go back if you had that much power to mash them together? Yeah, never say never. I mean, I, you know, we're sort of trying to do it With Marv at the moment, because we have, we've got Kingsman, we have Kickass, we have Argyll, we have two other things we're making at the moment as well. And so we're getting these characters, but there has to be a reason to do it. And it has to be that everything is better with them, not just the gimmick. And then it's, you, you do great. I had this argument on days of future past, because I, you know, we did class and then, I came up with the idea of days of future past.

Starting point is 00:23:16 And then, but I wanted to do it third. I said it's too early to bring it together. It's too big an event. We've got to do a second one where we'll bring, there's cast a young Wolverine. Let's have some fun here. Build out this new X-Men universe. And then number three, we bring them all together.

Starting point is 00:23:32 And ding-dong, the studio just saw dollar signs when I gave them the idea. And then went, fuck, phase two. We're going straight to phase three, which I thought was, you know, short-term, great, long-term, not so great. It's tempting to put all the ingredients into a pot, but they still got to have a right balance. Otherwise, you know, I'm not really that interest in having a, I don't know, I'm sorry, a cheesecake flavored with steak in it. Yeah, back to the three cheeseburgers.

Starting point is 00:24:00 There really should be an aperitif in between. I love that you brought a days of future past because I really do think it's something that had the good source. And then it kind of like Kitty Pride had powers you didn't have. And there were choices made that that did feel like it was serving itself instead of serving the narrative. Is there any X-Men story you would love to see adapted now that we're bringing the mutants into the MCU as a comic fan just from the outside? Is there a storyline you'd love to see on screen? I'm going to say something but a little bit controversial, but one of my favorite

Starting point is 00:24:27 storylines which I was involved with was X-3 and The Cure. And that I found fascinating. So if I was asked to do it, I'd love to have done, do that properly because I did think the idea of to be cured of something amazing was, and now with what happened with, you know, the vaccine and COVID and mass vaccinations compared. And I thought that plot line, was it Bendis? No, who did that? I think it was Whedon, on astonishing? It was Wheaton. Yeah, the first astonishing X-Men arc, I believe. It was that Cassidy art, yeah. I think it was Josh. Yeah, Weeden said that, that would be something I'd like to have. I think with the modern world could be a very powerful storyline. It's impossibly topical. And I do think it lends itself to the commentaries on

Starting point is 00:25:17 like prejudice and obviously the inherent bigotry and the X-Men. When you were developing X-Men and you had all the studio Rumbly-Jumbly, was there ever anyone you put forth as a casting idea since casting is so important to you, we didn't get to see? Are there anyone that you'd love to see as an X-Men? Rumbly-jumbly, I will quote you for that. That's my new word of the day. let me just think about that I sort of got everybody I wanted I mean it all it all fell into place

Starting point is 00:25:45 I had to fight very hard to cast Jennifer Lawrence ironically and I did have a problem casting Fast Bender because the poor guy had a moustache and the auditions

Starting point is 00:25:55 because he was playing I think Carl Jung and the studio kept saying well we don't like his moustache and I was like you know this thing got a razor blade and we'll get rid of it and they're like yeah but that moustache

Starting point is 00:26:06 I like, stop talking about the moustache. This guy is brilliant. So, so as I said, I fought for who I wanted. So, you know, I think the casting was pretty damn good in that film. Yeah, I mean, Lucas Till, Zoe Kravitz, seeing a lot of people, again, that have now become household names from that cast. And to me, first class feels the most like an X-Men movie, not a mutant movie. Like the heart of what the X-Men is is there.

Starting point is 00:26:29 As they bring the X-Men into the MCU and you following as a fan of the comic books, Is there anything you'd love to see the MCU transition into using the element of the Fox characters like The Fantastic 4 or the MCU? Would you like to see them interacting or would you like to see it a little off sides? I would like to see. I think why the MCU works so well. They were disciplined at the beginning. Keep these characters separate. You know, get, I have one or two movies.

Starting point is 00:26:59 And that's why I don't think Justice League worked because they just slapped all these characters together. but we hadn't spent enough time with them to really enjoy them coming together. And that's why the Avengers were so great because we've had enough individual movies. And then it was so, you know, Kevin Feiger, he was a master how he did that. So if I was doing it, I'd say fan for X-Men, make them right, set it up, do one or two movies of both, and then slowly start letting the tentacles go. That's what I would do. I totally agree.

Starting point is 00:27:30 And it always feels like the X-Men are just outside of New York for, reason like upstate westchester intentionally is over there is there anything that would lure you back to emce you? Is anything with like kevin fogger or anyone running it over there that would call to you enough i know i don't want to give anything away but like just as a fan of the comics a character you'd like to play with um yeah if they called me up and said i mean look look i love that universe so um and i like kevin so yeah i would never say never if they called me up and said look we want to like i don't know ironman you know originally i want to do ironman about 22 years ago

Starting point is 00:28:03 when it was that new line and I found the script and I was like this is the future I want to make Iron Man and everyone said you're just crazy no one's gonna

Starting point is 00:28:10 it's the dumbest title and what a guy rich guy builds a superhero iron costume never gonna work so you know so if I read you know

Starting point is 00:28:22 I never say never well before we get out of here the DC universe is also jumping again it's starting in its own way and I know how much respect you have for gun and saffron. Those announcements for comic fans were insane. Some of the stuff they said, I'm shocked they're making, even in this age of superhero. Was there a certain announcement

Starting point is 00:28:40 that you are most excited to see, if not work on? Well, Millie Alcock, a supergirl was, I met with her again eight months ago. I saw her in House of Dragon, went, this is a future star. So we met, there's a project I thought she'd be grateful. And she turned me down, which I was like, Okay, that's, she's, that's okay, fair enough. And I'm not surprised she's now going to become a supergirl. She's brilliant. She's absolutely brilliant. Is there anyone you've met with in all your years that you could see off the top of your head

Starting point is 00:29:15 as someone to the DCU or MCU with the history of your casting these people that feel like movie stars through the lens? Is there anyone that hasn't yet hit that tipping point? Karen, Edgerton. Yeah. And I know everybody says him as Wolverine, But I personally, he doesn't look like he smells bad enough. Oh, he does.

Starting point is 00:29:36 Perfect. That was my only issue. I want a Wolverine that looks like the peanuts on the bar are the smell that he has. So before we get out of here, I also know your love of James Bond is profound. And both you and Henry Cavill have been almost bond in your own ways with Henry's insane streak of almost Cullen, almost bond. And now the Superman chaos. Was there a moment when making this, it felt like there was a bit of karma for you get it to make your, your spy thriller through Argyle with someone we've all wanted as Bond for so long? I wouldn't say it's karma.

Starting point is 00:30:08 I'd just say it was the right, it was the stars, you know, aligning correctly. And it was fun. And I still think if Henry, if they chose Henry to be Bond, they will do very, very well. I think Henry will make his own vehicle, but he's so, Ian Fleming wrote Henry Cavill, as, you know, or Henry Cavill, I don't know whether Henry Cavill read Bond when he was a kid and just molded himself on that, because he is close to a real-life bond as anyone I've ever met. And it absolutely plays. And I hope, I mean, I have 10 years down the line in the Hindu Kingdom come and maybe you can bring them back over there too, because I'd love to see it.

Starting point is 00:30:47 And there's a lot of that element here. Is there anything you'd love to do with Henry next or any of this cast because I love your work with Sam and Bryce. Everyone here's incredible. I would love to work with them again. We have ideas. We've discussed it, but we need people to see this movie first of all. If Vargaal works, then there's going to be a lot more surprises and fun to come. I love that this is book four and I love that you want to do book one next. I love that Ellie is a real author. There are so many elements of this that I can't wait to understand how deep the meta rabbit hole goes. But most of all, I really appreciate all your work, man. And your work with Guy Ritchie producing Snatch got me interested in how films are.

Starting point is 00:31:20 made so I really appreciate everything you've done and your love of comics is also so wonderful to see so thank you so much man well thank you for your time I appreciate it have a great one

Your Ad Here

The Reel Rejects - MEETING DIRECTOR MATTHEW VAUGHN! Talking X-Men, Henry Cavill, New Cinematic Universe, & Argylle!

There aren't comments yet for this episode. Click on any sentence in the transcript to leave a comment.