"Nuevo proyecto para la CW sobre 'THE FLASH'"
Moderadores: Shelby, Lore, Super_House, ZeTa, Trasgo
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Stills del 2.21 "The Runaway Dinosaur":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Descripción oficial del 2.23 “The Race of His Life” (season finale):
2.23 “The Race of His Life” -season finale- (24/05/16): THE FLASH VS. ZOOM – Después de que Zoom (la estrella invitadaTeddy Sears) revele su verdadero plan, Barry (Grant Gustin) jura hacer lo que sea necesario para detenerle. Antonio Negret dirige el episodio escrito por Aaron Helbing & Todd Helbing (#f223).
http://flashtvnews.com/flash-season-2-f ... life/24761
http://flashtvnews.com/flash-season-2-f ... life/24761
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Kevin Smith sobre el cómo dirigir "The Flash" le hizo un mejor cineasta (IGN):
- Kevin Smith dice que su episodio de The Flash es una "Secuela espiritual" al final del año pasado (comicbook):
- Kevin Smith: Cómo llegué a dirigir "The Flash" (EW):
- Kevin Smith accede a la Speed Force para su episodio de "The Flash" (CBR):
- Candice Patton dice que las audiencias son ‘reticentes’ a ver personajes femeninos evolucionar (zap2it):
- El director invitado de "The Flash" Kevin Smith revela lo qie aprendió en el set, y su aspiración a ‘Arrow’ (Variety):
- Kevin Smith adelanta su episodio de "The Flash": 'Van a haber lágrimas' (TVInsider):
Kevin Smith sobre el cómo dirigir "The Flash" le hizo un mejor cineasta
Por Matt Fowler 09 Mayo 2016
This week's episode of The Flash, "The Runaway Dinosaur," not only ushers the show into its Season 2 endgame and Barry's final battle against Zoom, but it also comes with a notable guest director attached - super Flash fan Kevin Smith.
The Clerks/Dogma director has already received rave reviews from the cast for his efforts, along with executive producer Andrew Kreisberg who said, of Smith, "There was a reverence and an awe almost in how he approached everything." Smith has already agreed to return to direct an episode for Season 3.
Tom Cavanagh ("Harrison Wells") said that Smith was "incredible to work with" while Carlos Valdes ("Cisco") said that it was "one of the best experiences I've had on the show thus far." Star Grant Gustin even posted some kind words on Instagram about Smith's visit, saying that the "entire cast and crew were uplifted."
I had the chance to speak to Smith about his Flash episode, being nervous about making the episode feel too "Kevin Smith-y," whether or not he'd direct episodes of other comic book TV shows - like the upcoming Preacher - and more.
IGN: What can you tell us about "The Runaway Dinosaur?"
Kevin Smith: You know what, dude? It's good. Normally I don't like to blow up my own stuff, I like to make fun of it, but this one works. I didn't write it and I barely directed it, you know? I just sort of hosted. Like, when you guest direct you host the way somebody hosts SNL. Because these people make that show week in, week out. You've got writers who crush it. You've got a cast who absolutely shoots it into the stratosphere. And you've got a crew that creates a such a well-made show that it looks like they make a feature every week. And they do it in eight days. So I didn't go into this going 'Let me show you f***ers how to make Flash.' They know exactly how to make Flash. So much so that I went up there like a pupil trying to learn. Like Ying-Ko. Lamont Cranston. I went up there to be taught.
I love the show so much that I was like 'Heavens, I bet I could learn something! Show me how you do this every week." And so oddly enough, after eight days of directing The Flash, I became a far better filmmaker than when I started. Which is weird because I've had 22 years to get it right. It took eight days working on The Flash. Because I couldn't write it and I couldn't edit it. All I had to do was direct. And it was kind of like, how you see in the movies, 'You now have to fight with two hands tied behind your back.' And I was like, "How am I supposed to do that?" You just figure it out. Suddenly I was concentrating on the one job that most people know me for but that I don't consider myself very good at that job. The other two things I normally do - writing the script and editing - those buttress my direction. And suddenly I was working without those two. But I became a stronger director, man.
That crew, they really know how to shoot. They've got fifty pages to do every week and only eight days to do it. If you doubled that page count to a hundred, that's like a movie script. And generally they give you a month to shoot a movie. So you're doing everything faster. The good news is that I come from indie film and I'm used to working fast so that was useful. These guys move fast but with quality on top of it. I went up there as a fan just wanting to see how things work and I walked out of there feeling like I became a better filmmaker.
IGN: How did this gig come together for you?
Smith: We really owe it to Jason's (Mewes) wife, Jordan. She runs our company. She called them up. Well, first she called my agent up, who's also named Jordan. So girl Jordan called boy Jordan and said "He loves that Flash show. Why don't you ask them if they'll let him direct and episode?" So he called up and told them I loved the show and asked if they'd ever let me do it and they were like "sure." And so suddenly it was that easy. Jordan called me and said "You're gonna hate this. I called up boy Jordan and asked about The Flash" and I was like "Why would you f***in' do that? I don't need a f***in' job. I don't go out begging for jobs, that's gonna make me look like f***in' weak sauce." And she was like "They said yes" and I was like "Good job!" And suddenly - boom! - I was in Flash world. And it was a real gift, man. I didn't bring much to the table except enthusiasm. I didn't go up there and go "Here's my five point plan for improving your show."
IGN: What was it like doing this as a big Flash fan?
Smith: I'm a huge fan of the show. And that was my concern when I was headed up there. How do I make it so that you don't notice that I directed it? Like, if you go, "That's a Kevin Smith episode" - well other than the Jay Mewes aspect of it because Jay pops up - then I haven't done a good job. I went in there wanting to make it so Flash that when people watch it, it seamlessly fits in with the story they're watching. With that universe. You don't want it to stick out. So I used as my model the season finale from Season 1. Because that's my favorite episode of Flash and honestly one of my five favorite episodes of TV ever f**king produced. One of my five favorite hours of television ever made. So well written, directed, acted. How they thread the needle over the course of the season. It all culminated insanely well. So I just tried to shoot for that. Even if I failed and only got halfway there I'd still be in good standing because that episode was sublime. And then the good news is when they gave me Zack Stentz's script it was very much a spiritual sequel to that episode. It's a bookend to it. It works very well side by side.
I've watched them both together now side by side a bunch and the pairing plays great. Because they both involve Barry's mom. Anytime you use Nora Allen on the show, you're instantly going to catch more people's attention. Because at the heart of the story is a boy who lost his mother. And so when he reunites with his mother it's always huge and emotionally powerful. And I don't care if you're a robot, or as they say on the internet a "Nazi Robot," you will cry. It's gut-wrenching stuff. It's a three hanky episode and two are for your eyes and the other's for your d**k. Because you're just going to be jerking because it's all the stuff you love in one episode of The Flash. And it had nothing to do with me. I just stood by with my jaw slack going "I can't believe I'm here."
IGN: There's a mechanism in place for these shows, with the look and overall tone. Were you ever tempted to put your own stamp on things?
Smith: I felt like that would have led to ruin. The tone of the things I do is very different from The Flash. The Flash has heart, humor, and spectacle. And my stuff has heart and humor but the humor is fairly low-brow humor. The humor they do on the show is the kind everyone can enjoy and I'm not really practiced at doing that. I do the low-brow stuff. So I didn't think my tone would fit into that world at all. I didn't want to put Jay Mewes on the show but they asked me to. They put him in the script and I was like 'F**k!' - because then people would know I directed this episode. I wanted it to be that if you took my name off it you wouldn't necessarily know that I had anything to do with it. The inclusion of Jay definitely signals that I had a hand in it. The good news is though that it was their idea.
When I first got the job, Jay was like "I'm going with you." And I was like "I just found out I got this job, I can't go tell them to hire you on." Because Jay loves CW. It's his religion. He watches everything on it. Not just the DC/Berlanti stuff, but he watches everything on The CW. He's just particularly nutty over the DC/Berlanti shows. He's the one who tried to get me to watch Flash in the first place. He was watching Arrow and then when Flash came around he was like "Now they're doing Flash! Flash is getting his own show!" And I was like, "Dude, you watch it and tell me about it." And then it wasn't until this season when they did the King Shark appearance - not the full episode but the tag in the one episode with King Shark in it - he called me up screaming "Turn on your television!" And the last time he called me like that it was September 11th so I thought we were under attack. He was like "No, man! King Shark's on Flash!" And so I saw a picture of King Shark on Twitter and he looked really good so that made me want to watch the show in the first place. So then I went back and watched all of Season 1. So Jason was the bridge. And he'd have to fill me in on some of the Arrow stuff when there were crossovers. And then my wife would make fun of us and say "Look at you old ladies with your stories" and I was like "F**k you, this is Flaaaash."
IGN: Would you have to be a fan of the material in order to do more TV directing gigs? Like, would you be up for directing an episode of Preacher, being as big a fan as you are?
Smith: I think it makes it easier if I'm geared up for the material or a fan of the material. Even though when you look at me and The Flash you don't go "Yeah, that's the guy to direct an episode" because of the stuff I normally make. This job went beyond the though. This job went back to "Hey, I've been reading comics my whole life. I've loved this s**t forever." So I came into it not so much as an established filmmaker but as a comic book fan who loves that show who was given the chance to direct an episode. I never really felt like I was in charge. I felt like I was offering opinions and advice and enthusiasm. I was cheerleading. That's what I brought to it.
I don't know if I could just step onto any show though. With The Flash I was able to elevate it a little bit. I mean, it's always great and I'm not like "I made it better." But I was able to go further than I have in my job. I was tied into it. I was crying on set. We'd have takes where my eyes were wet and I wasn't even embarrassed because I knew we were crushing it. And if I was crying then the audience is going to have some tears to. So maybe Preacher, sure. I mean I know that world because I'm a big fan of it and I'd maybe be a little more adept at handling that show, but if they asked me to direct an episode of The Good Wife - which I know is over, but it's just an example - I don't watch that show. Even Arrow, which I don't watch on the regular, I feel I'd be a better fit for than just directing episodic TV in general. All the comic book shows would make sense. Like The Walking Dead. Because that stuff's in my blood anyway. But they don't need me. None of these shows need help. So I'm just happy they let me come play. I fit in this world, and I think I'd fit in the world of other comic book TV shows, but I don't think I'm the guy to call for a CSI or something like that.
http://www.ign.com/articles/2016/05/09/ ... -filmmaker
Por Matt Fowler 09 Mayo 2016
This week's episode of The Flash, "The Runaway Dinosaur," not only ushers the show into its Season 2 endgame and Barry's final battle against Zoom, but it also comes with a notable guest director attached - super Flash fan Kevin Smith.
The Clerks/Dogma director has already received rave reviews from the cast for his efforts, along with executive producer Andrew Kreisberg who said, of Smith, "There was a reverence and an awe almost in how he approached everything." Smith has already agreed to return to direct an episode for Season 3.
Tom Cavanagh ("Harrison Wells") said that Smith was "incredible to work with" while Carlos Valdes ("Cisco") said that it was "one of the best experiences I've had on the show thus far." Star Grant Gustin even posted some kind words on Instagram about Smith's visit, saying that the "entire cast and crew were uplifted."
I had the chance to speak to Smith about his Flash episode, being nervous about making the episode feel too "Kevin Smith-y," whether or not he'd direct episodes of other comic book TV shows - like the upcoming Preacher - and more.
IGN: What can you tell us about "The Runaway Dinosaur?"
Kevin Smith: You know what, dude? It's good. Normally I don't like to blow up my own stuff, I like to make fun of it, but this one works. I didn't write it and I barely directed it, you know? I just sort of hosted. Like, when you guest direct you host the way somebody hosts SNL. Because these people make that show week in, week out. You've got writers who crush it. You've got a cast who absolutely shoots it into the stratosphere. And you've got a crew that creates a such a well-made show that it looks like they make a feature every week. And they do it in eight days. So I didn't go into this going 'Let me show you f***ers how to make Flash.' They know exactly how to make Flash. So much so that I went up there like a pupil trying to learn. Like Ying-Ko. Lamont Cranston. I went up there to be taught.
I love the show so much that I was like 'Heavens, I bet I could learn something! Show me how you do this every week." And so oddly enough, after eight days of directing The Flash, I became a far better filmmaker than when I started. Which is weird because I've had 22 years to get it right. It took eight days working on The Flash. Because I couldn't write it and I couldn't edit it. All I had to do was direct. And it was kind of like, how you see in the movies, 'You now have to fight with two hands tied behind your back.' And I was like, "How am I supposed to do that?" You just figure it out. Suddenly I was concentrating on the one job that most people know me for but that I don't consider myself very good at that job. The other two things I normally do - writing the script and editing - those buttress my direction. And suddenly I was working without those two. But I became a stronger director, man.
That crew, they really know how to shoot. They've got fifty pages to do every week and only eight days to do it. If you doubled that page count to a hundred, that's like a movie script. And generally they give you a month to shoot a movie. So you're doing everything faster. The good news is that I come from indie film and I'm used to working fast so that was useful. These guys move fast but with quality on top of it. I went up there as a fan just wanting to see how things work and I walked out of there feeling like I became a better filmmaker.
IGN: How did this gig come together for you?
Smith: We really owe it to Jason's (Mewes) wife, Jordan. She runs our company. She called them up. Well, first she called my agent up, who's also named Jordan. So girl Jordan called boy Jordan and said "He loves that Flash show. Why don't you ask them if they'll let him direct and episode?" So he called up and told them I loved the show and asked if they'd ever let me do it and they were like "sure." And so suddenly it was that easy. Jordan called me and said "You're gonna hate this. I called up boy Jordan and asked about The Flash" and I was like "Why would you f***in' do that? I don't need a f***in' job. I don't go out begging for jobs, that's gonna make me look like f***in' weak sauce." And she was like "They said yes" and I was like "Good job!" And suddenly - boom! - I was in Flash world. And it was a real gift, man. I didn't bring much to the table except enthusiasm. I didn't go up there and go "Here's my five point plan for improving your show."
IGN: What was it like doing this as a big Flash fan?
Smith: I'm a huge fan of the show. And that was my concern when I was headed up there. How do I make it so that you don't notice that I directed it? Like, if you go, "That's a Kevin Smith episode" - well other than the Jay Mewes aspect of it because Jay pops up - then I haven't done a good job. I went in there wanting to make it so Flash that when people watch it, it seamlessly fits in with the story they're watching. With that universe. You don't want it to stick out. So I used as my model the season finale from Season 1. Because that's my favorite episode of Flash and honestly one of my five favorite episodes of TV ever f**king produced. One of my five favorite hours of television ever made. So well written, directed, acted. How they thread the needle over the course of the season. It all culminated insanely well. So I just tried to shoot for that. Even if I failed and only got halfway there I'd still be in good standing because that episode was sublime. And then the good news is when they gave me Zack Stentz's script it was very much a spiritual sequel to that episode. It's a bookend to it. It works very well side by side.
I've watched them both together now side by side a bunch and the pairing plays great. Because they both involve Barry's mom. Anytime you use Nora Allen on the show, you're instantly going to catch more people's attention. Because at the heart of the story is a boy who lost his mother. And so when he reunites with his mother it's always huge and emotionally powerful. And I don't care if you're a robot, or as they say on the internet a "Nazi Robot," you will cry. It's gut-wrenching stuff. It's a three hanky episode and two are for your eyes and the other's for your d**k. Because you're just going to be jerking because it's all the stuff you love in one episode of The Flash. And it had nothing to do with me. I just stood by with my jaw slack going "I can't believe I'm here."
IGN: There's a mechanism in place for these shows, with the look and overall tone. Were you ever tempted to put your own stamp on things?
Smith: I felt like that would have led to ruin. The tone of the things I do is very different from The Flash. The Flash has heart, humor, and spectacle. And my stuff has heart and humor but the humor is fairly low-brow humor. The humor they do on the show is the kind everyone can enjoy and I'm not really practiced at doing that. I do the low-brow stuff. So I didn't think my tone would fit into that world at all. I didn't want to put Jay Mewes on the show but they asked me to. They put him in the script and I was like 'F**k!' - because then people would know I directed this episode. I wanted it to be that if you took my name off it you wouldn't necessarily know that I had anything to do with it. The inclusion of Jay definitely signals that I had a hand in it. The good news is though that it was their idea.
When I first got the job, Jay was like "I'm going with you." And I was like "I just found out I got this job, I can't go tell them to hire you on." Because Jay loves CW. It's his religion. He watches everything on it. Not just the DC/Berlanti stuff, but he watches everything on The CW. He's just particularly nutty over the DC/Berlanti shows. He's the one who tried to get me to watch Flash in the first place. He was watching Arrow and then when Flash came around he was like "Now they're doing Flash! Flash is getting his own show!" And I was like, "Dude, you watch it and tell me about it." And then it wasn't until this season when they did the King Shark appearance - not the full episode but the tag in the one episode with King Shark in it - he called me up screaming "Turn on your television!" And the last time he called me like that it was September 11th so I thought we were under attack. He was like "No, man! King Shark's on Flash!" And so I saw a picture of King Shark on Twitter and he looked really good so that made me want to watch the show in the first place. So then I went back and watched all of Season 1. So Jason was the bridge. And he'd have to fill me in on some of the Arrow stuff when there were crossovers. And then my wife would make fun of us and say "Look at you old ladies with your stories" and I was like "F**k you, this is Flaaaash."
IGN: Would you have to be a fan of the material in order to do more TV directing gigs? Like, would you be up for directing an episode of Preacher, being as big a fan as you are?
Smith: I think it makes it easier if I'm geared up for the material or a fan of the material. Even though when you look at me and The Flash you don't go "Yeah, that's the guy to direct an episode" because of the stuff I normally make. This job went beyond the though. This job went back to "Hey, I've been reading comics my whole life. I've loved this s**t forever." So I came into it not so much as an established filmmaker but as a comic book fan who loves that show who was given the chance to direct an episode. I never really felt like I was in charge. I felt like I was offering opinions and advice and enthusiasm. I was cheerleading. That's what I brought to it.
I don't know if I could just step onto any show though. With The Flash I was able to elevate it a little bit. I mean, it's always great and I'm not like "I made it better." But I was able to go further than I have in my job. I was tied into it. I was crying on set. We'd have takes where my eyes were wet and I wasn't even embarrassed because I knew we were crushing it. And if I was crying then the audience is going to have some tears to. So maybe Preacher, sure. I mean I know that world because I'm a big fan of it and I'd maybe be a little more adept at handling that show, but if they asked me to direct an episode of The Good Wife - which I know is over, but it's just an example - I don't watch that show. Even Arrow, which I don't watch on the regular, I feel I'd be a better fit for than just directing episodic TV in general. All the comic book shows would make sense. Like The Walking Dead. Because that stuff's in my blood anyway. But they don't need me. None of these shows need help. So I'm just happy they let me come play. I fit in this world, and I think I'd fit in the world of other comic book TV shows, but I don't think I'm the guy to call for a CSI or something like that.
http://www.ign.com/articles/2016/05/09/ ... -filmmaker
Kevin Smith dice que su episodio de The Flash es una "Secuela espiritual" al final del año pasado
Por Russ Burlingame 09/05/2016
With just three episodes left in the season, The Flash has brought on a new director to helm this week's episode: geek icon Kevin Smith, a huge fan of the series, who had the unenviable task of joining the show just in time to film an episode where the lead character...is dead.
At the end of last week's episode of The Flash, in an attempt to restore Barry's powers it seemed as though he'd died -- but as many fans imagined, he has merely joined the Speed Force, and this week's episode will follow him as he learns the nature of the Speed Force and tries to journey back to life.
Smith joined ComicBook.com to talk about this week's episode.
You've said in the past that you don't feel like your skillset would really be suited to a superhero project. Has working on The Flash changed your perspective at all?
Absolutely, but not so much that I would go make a comic book movie.
Listen, the speed of The Flash -- no pun intended -- is probably my speed. When you're doing a comic book movie, you've got two hours generally to set up an origin, or even if you're a sequel you've still got to do some more story work. You rarely get to do a lot of character stuff.
Iron Man is an exception in terms of secret origin films because you spend the whole second act with him in a workshop figuring himself out. It's a rare and wonderful beast like that. But generally in comic book films, you don't get a ton of time to get into character development stuff. It's all about spectacle. You've got to deliver something that makes people want to get out of their house and go to the movies: building falling downs, fights, s--t like that.
On The Flash, you've got a series where they've got 23 episodes and they get to really build character over that, and they don't have to rush. it's a leisurely pace. You don't have to do things in your episode of The Flash to make people understand, "okay, there's this guy who's been hit with lightning and chemicals and suddenly he can run fast. He lost his mom..." they've got all that. They get all that story leading up to your episode, so all you have to do is just take care of your hour.
Add to that the level of spectacle that they do, since it's only like a 42-minute episode, probably only a quarter of that is going to be the special effects, the stuff that I'm always uncomfortable with or the stuff that I'm least adept at doing.
So it kind of felt like when I was coming in on The Flash, the three pillars on which they've built the show -- heart, humor, and spectacle -- heart and humor, I can pull off. That's my bread and butter. Usually my third pillar is d--k jokes. But if you take that away and replace it with spectacule, that's what always has be going, "ehh, I don't know if I can do this." But the good news is, they're not doing two hours of spectacle.
And the good news, too, is that you don't have to dream up this stuff or create the stuff yourself. Everyone has their department on the show and everyone has what they do. Armen [Kevorkian], who's in charge of the special effects on the show and who directed the episode before mine, he's the guy who's got to figure out what the Speed Force looks like and stuff.
Your position as director is one of opinion and suggestion -- and also cheerleading, and that's what I brought to it in a big, bad way. I was so f--king enthusiastic, man. It rubs off; it's infectious. I was always worried it'd be irritating for people, like "Jesus, this guy likes the show too much." But they all like the show, too, so they were happy to have an outsider in there who's such a fan.
At one point, we were driving around in a locations van and they're like "Anybody want a coffee?" And I was like, "Let's go to Jitters. I want a 'Flash.'" And the locations dude was like, "It's really nice to have somebody who's an actual fan of the show on the show. It's weird that you know the coffee is called 'The Flash.' And it's because I live for this s--t. I watch it, it's my entertainment.
So I'm in there not going "Let me show you how to make this f---ing show." They know how to make it, as they do well every week. And I didn't go up there going, "I want to put my signature on it."
Jason Mewes is in this episode, and at one point I fought his casting becuase I was like, "I want this show to not stand out. I want people to not go 'Oh, Kevin Smith directed this.'" Because I came up wanting to do The Flash, not "Kevin Smith's The Flash." So I almost talked him out of it -- I was like, "you know, we probably should keep it Jay-free." But he's such a fan of The CW in general -- that show particularly, but all of The CW shows, particularly the Berlanti shows, that it would have been so f---ed up for me to be like, "Dude, I just want this to be pure, so I'm leaving you out of it." So the nice thing is, he's in there, but he doesn't distract that much. Just a fun little kind of cameo. But there was a moment where I thought about cutting my boy out of it, and he was crestfallen; he was like "They literally wrote me into a show. I live for these shows!"
I've seen Jason cry twice in his life: once when his daughter was born last year -- when Logan was born; he named her after Wolverine; and once when I was like, "Dude you're going to be on The CW." Like, he was bawling. And at one point I almost told him, "Dude, I want you to back off of it and not do it so that people don't realize this is my episode."
I wanted it to just fit in with the run of their show. I'm happy to report that it does. You'll be able to spot Jason Mewes, because he sticks out, but not in a bad way. But you'll be able to be like, "This must be the one Kevin Smith did, because there's Jay Mewes." But the rest of it is pure Flash.
My model was the Season One season finale, which is not just my favorite episode of The Flash hands-down, but one of my favorite hours of television ever produced. Masterfully written, acted, directed. The production design is insane. everything about that -- huge, dude! The end of that episode, they not only wrap up this massive and intricately-written storyline, but they also end it with this cliffhanger that's the end of the world as the singularity opens up. As special a special effect as you get: there's a shot in that season finale, I defy anybody to say, "Oh, it's a TV show." It looks like a f---ing movie. You've got people running, the sky opening up, it looks as good as any movie.
So that was my favorite episode of The Flash but also one of my favorite episodes of TV ever produced. That was the one I said, "Let's use that as our model. I know we're not the season finale and we don't have anything going on as big, but it's so well-made, I said if we can just do half as good as that episode across the boards, we'll have a stellar episode.
The good news is, Zack's script -- Zack Stentz's script -- plays like a spiritual sequel to that episode. Now that the pictures are out, people know: Barry's mom is in the episode, so it's kind of like a sequel to the season finale. And as a massive fan of that episode, it was like being dealt a royal flush at a poker table. I sat down to be like, "Well I can try my hand at that," but it's like being dealt a royal flush and you're like "You're kidding. My episode is Barry and his mom, Barry in the Speed Force?" I was set, dude. I knew at that point that I couldn't f--k it up, then it only became a matter of how much can you elevate this? The fact of the matter is, cast and crew elevated it.
I'm talking about, with the cast, I was like, "Do what you want. What feels best here?" And with the crew, I leaned heavily on the crew. Kim Miles is an amazing DP, so it's like, "Dude, shoot the sh-t out of this. Let's push it." I was able to move fast because I come from indie film so we were done early most days and with the time that we had left, we were able to find cool sh-t that they hadn't done before. When you shoot a TV show on a sound stage, you tend to shoot the same angles over and over again; how many different ways can you shoot a room? But one day we were done early enough to get to this one scene where Kim was like, "You know what's really nice? We had enough time to figure out a way to look at this room that we haven't seen it before. So we've got an angle that we haven't shot before."
So what I brought to it wasn't "Hey, let me show you guys how it's done," but enthusiasm. I just brought crazy enthusiasm. I was like a Baptist preacher on cocaine on that set, because I believe in the Gospel; I love what they do. So I was less like, "This is Kevin Smith, he's done a bunch of movies and sh-t," and more like "This guy clearly loves the comic books and clearly loves the TV show, and now he's been given quote-unquote control. But there's no control, you know? It takes a village. There's nobody in charge of that thing. If you want to heap the credit all on one person, give it to Grant, because Grant has to be in almost every scene in almost every episode all season, and that's a lot to ask of a person, but man, he shoulders it with good nature and he makes that character breathe. Dude, I was never interested in Barry Allen, and I've been reading these books for years. Barry Allen was just a nice guy and sh-t. Wally was my guy; they did a lot more, I felt like, with Wally West than they did with Barry Allen. But Grant, and the writers of the show, turned Barry Allen into as compelling a character as Bruce Wayne has been and turned Barry's backstory into as compelling as Batman's and that has everything to do with Geoff Johhs.
When I was done with my episode, I sent an e-mail to Geoff and I said "The opinion I'm most interested in is yours, dude, because you created Nora Allen." Nora Allen didn't really exist int he comics prior to [The Flash: Rebirth]. I hope to God it plays for him, that he liked it. I sent him a picture of a grave that's in the episode with Nora's name on it.
So I was lucky. I got very, very lucky. If they gave me the episode that came before mine -- when Barry went into the machine -- I wouldn't have been able to do as good a job as I did. The visit with the mom stuff? Holy sh-t, dude, that was right in my sweet spot. I'm a 45-year-old man, so this is an episode about a man who's looking back on his life. So who better to do that than somebody who does that every minute of his day?
As a fan, was there any part of you that was like "Oh, sh-t" when the starting point of the episode was this huge spoiler that last week ended on?
[Laughs] There was a moment where I was like, "I'm gonna direct The Flash," but then I got my script and then it was like, I got my script and "He's dead, what do I do here?"
But rest assured, if you're doing a TV show called The Flash, sooner or later he's going to be in that suit, and it's no different in our episode here. So coming into it, I wasn't as current. I read my script without having seen the episode or read the script for the episode before mine, but it's pretty clear from the jump what's going on. But the good news is, by page four in my script, we're with Barry, and the whole episode is kind of about his journey back to The Flash.
So it culminates with the costume, which is really kind of sweet. There's a moment in the show where he strikes a pose wearing that suit, and your knees go weak, man. I definitely got to play with the character; if you're going to do a show called The Flash, it's nice to get to do scenes where he's actually wearing The Flash costume, but the episode is so strong that even if we never got to see him in the costume, it still would have played. It might have been controversial inasmuch as people would have been like "Where the hell is The Flash?" but the character stuff is so rich, and it really is Grant's episode from top to bottom.
In a fair world, he would get some kind of Emmy nod or Golden Globe nod. They don't really pay attention to shows like this and I don't know why. They ignored Battlestar Galactica for years and now they're ignoring The Flash, which is an amazingly written show, acted show, directed show. Grant gives a killer performance, and I say that as a guy who's a fan of what he's done on the show. I got to see why he's good, man. I saw the dude's process. He's 100% real, man. He's a real actor, 100% performer. It's in his blood. Dude's going to win an award someday. Maybe not for this show, but he's going to win an Oscar.
While we were making the episode, before we do the take, I'm always cheerleading: "Alright, we're doing a big, emotional scene, folks. There's a lot of tears. We're going to reach out to the fans, reach into their chests, pull their hearts out, and eat it right in front of them, this scene is so heartbreakingly good." I said, "What we need to do is aim high. I'd say we're going for an Emmy here, but bulls--t. Let's go for an Oscar. I know it's a TV show, so it's impossible, but imagine if we pull it off! Let's give an Oscar-worthy performance.
And damn it, if the performances weren't so good in the episode. I'm so happy with it. As a Flash fan, I'm happy with the episode. As a filmmaker, as the guy who directed it, I'm like, "Right on, we didn't embarrass anybody, and the show looks really great." But as a Flash fan, I love watching this side by side...I've watched my episode 50 times and I've watched the Season One finale 100 times. Now what I do is I double-fist them; I watch the finale and then I watch my episode because it's all-Nora action. Bring tissues; it's good stuff.
http://comicbook.com/2016/05/09/kevin-s ... l-sequel-/
Por Russ Burlingame 09/05/2016
With just three episodes left in the season, The Flash has brought on a new director to helm this week's episode: geek icon Kevin Smith, a huge fan of the series, who had the unenviable task of joining the show just in time to film an episode where the lead character...is dead.
At the end of last week's episode of The Flash, in an attempt to restore Barry's powers it seemed as though he'd died -- but as many fans imagined, he has merely joined the Speed Force, and this week's episode will follow him as he learns the nature of the Speed Force and tries to journey back to life.
Smith joined ComicBook.com to talk about this week's episode.
You've said in the past that you don't feel like your skillset would really be suited to a superhero project. Has working on The Flash changed your perspective at all?
Absolutely, but not so much that I would go make a comic book movie.
Listen, the speed of The Flash -- no pun intended -- is probably my speed. When you're doing a comic book movie, you've got two hours generally to set up an origin, or even if you're a sequel you've still got to do some more story work. You rarely get to do a lot of character stuff.
Iron Man is an exception in terms of secret origin films because you spend the whole second act with him in a workshop figuring himself out. It's a rare and wonderful beast like that. But generally in comic book films, you don't get a ton of time to get into character development stuff. It's all about spectacle. You've got to deliver something that makes people want to get out of their house and go to the movies: building falling downs, fights, s--t like that.
On The Flash, you've got a series where they've got 23 episodes and they get to really build character over that, and they don't have to rush. it's a leisurely pace. You don't have to do things in your episode of The Flash to make people understand, "okay, there's this guy who's been hit with lightning and chemicals and suddenly he can run fast. He lost his mom..." they've got all that. They get all that story leading up to your episode, so all you have to do is just take care of your hour.
Add to that the level of spectacle that they do, since it's only like a 42-minute episode, probably only a quarter of that is going to be the special effects, the stuff that I'm always uncomfortable with or the stuff that I'm least adept at doing.
So it kind of felt like when I was coming in on The Flash, the three pillars on which they've built the show -- heart, humor, and spectacle -- heart and humor, I can pull off. That's my bread and butter. Usually my third pillar is d--k jokes. But if you take that away and replace it with spectacule, that's what always has be going, "ehh, I don't know if I can do this." But the good news is, they're not doing two hours of spectacle.
And the good news, too, is that you don't have to dream up this stuff or create the stuff yourself. Everyone has their department on the show and everyone has what they do. Armen [Kevorkian], who's in charge of the special effects on the show and who directed the episode before mine, he's the guy who's got to figure out what the Speed Force looks like and stuff.
Your position as director is one of opinion and suggestion -- and also cheerleading, and that's what I brought to it in a big, bad way. I was so f--king enthusiastic, man. It rubs off; it's infectious. I was always worried it'd be irritating for people, like "Jesus, this guy likes the show too much." But they all like the show, too, so they were happy to have an outsider in there who's such a fan.
At one point, we were driving around in a locations van and they're like "Anybody want a coffee?" And I was like, "Let's go to Jitters. I want a 'Flash.'" And the locations dude was like, "It's really nice to have somebody who's an actual fan of the show on the show. It's weird that you know the coffee is called 'The Flash.' And it's because I live for this s--t. I watch it, it's my entertainment.
So I'm in there not going "Let me show you how to make this f---ing show." They know how to make it, as they do well every week. And I didn't go up there going, "I want to put my signature on it."
Jason Mewes is in this episode, and at one point I fought his casting becuase I was like, "I want this show to not stand out. I want people to not go 'Oh, Kevin Smith directed this.'" Because I came up wanting to do The Flash, not "Kevin Smith's The Flash." So I almost talked him out of it -- I was like, "you know, we probably should keep it Jay-free." But he's such a fan of The CW in general -- that show particularly, but all of The CW shows, particularly the Berlanti shows, that it would have been so f---ed up for me to be like, "Dude, I just want this to be pure, so I'm leaving you out of it." So the nice thing is, he's in there, but he doesn't distract that much. Just a fun little kind of cameo. But there was a moment where I thought about cutting my boy out of it, and he was crestfallen; he was like "They literally wrote me into a show. I live for these shows!"
I've seen Jason cry twice in his life: once when his daughter was born last year -- when Logan was born; he named her after Wolverine; and once when I was like, "Dude you're going to be on The CW." Like, he was bawling. And at one point I almost told him, "Dude, I want you to back off of it and not do it so that people don't realize this is my episode."
I wanted it to just fit in with the run of their show. I'm happy to report that it does. You'll be able to spot Jason Mewes, because he sticks out, but not in a bad way. But you'll be able to be like, "This must be the one Kevin Smith did, because there's Jay Mewes." But the rest of it is pure Flash.
My model was the Season One season finale, which is not just my favorite episode of The Flash hands-down, but one of my favorite hours of television ever produced. Masterfully written, acted, directed. The production design is insane. everything about that -- huge, dude! The end of that episode, they not only wrap up this massive and intricately-written storyline, but they also end it with this cliffhanger that's the end of the world as the singularity opens up. As special a special effect as you get: there's a shot in that season finale, I defy anybody to say, "Oh, it's a TV show." It looks like a f---ing movie. You've got people running, the sky opening up, it looks as good as any movie.
So that was my favorite episode of The Flash but also one of my favorite episodes of TV ever produced. That was the one I said, "Let's use that as our model. I know we're not the season finale and we don't have anything going on as big, but it's so well-made, I said if we can just do half as good as that episode across the boards, we'll have a stellar episode.
The good news is, Zack's script -- Zack Stentz's script -- plays like a spiritual sequel to that episode. Now that the pictures are out, people know: Barry's mom is in the episode, so it's kind of like a sequel to the season finale. And as a massive fan of that episode, it was like being dealt a royal flush at a poker table. I sat down to be like, "Well I can try my hand at that," but it's like being dealt a royal flush and you're like "You're kidding. My episode is Barry and his mom, Barry in the Speed Force?" I was set, dude. I knew at that point that I couldn't f--k it up, then it only became a matter of how much can you elevate this? The fact of the matter is, cast and crew elevated it.
I'm talking about, with the cast, I was like, "Do what you want. What feels best here?" And with the crew, I leaned heavily on the crew. Kim Miles is an amazing DP, so it's like, "Dude, shoot the sh-t out of this. Let's push it." I was able to move fast because I come from indie film so we were done early most days and with the time that we had left, we were able to find cool sh-t that they hadn't done before. When you shoot a TV show on a sound stage, you tend to shoot the same angles over and over again; how many different ways can you shoot a room? But one day we were done early enough to get to this one scene where Kim was like, "You know what's really nice? We had enough time to figure out a way to look at this room that we haven't seen it before. So we've got an angle that we haven't shot before."
So what I brought to it wasn't "Hey, let me show you guys how it's done," but enthusiasm. I just brought crazy enthusiasm. I was like a Baptist preacher on cocaine on that set, because I believe in the Gospel; I love what they do. So I was less like, "This is Kevin Smith, he's done a bunch of movies and sh-t," and more like "This guy clearly loves the comic books and clearly loves the TV show, and now he's been given quote-unquote control. But there's no control, you know? It takes a village. There's nobody in charge of that thing. If you want to heap the credit all on one person, give it to Grant, because Grant has to be in almost every scene in almost every episode all season, and that's a lot to ask of a person, but man, he shoulders it with good nature and he makes that character breathe. Dude, I was never interested in Barry Allen, and I've been reading these books for years. Barry Allen was just a nice guy and sh-t. Wally was my guy; they did a lot more, I felt like, with Wally West than they did with Barry Allen. But Grant, and the writers of the show, turned Barry Allen into as compelling a character as Bruce Wayne has been and turned Barry's backstory into as compelling as Batman's and that has everything to do with Geoff Johhs.
When I was done with my episode, I sent an e-mail to Geoff and I said "The opinion I'm most interested in is yours, dude, because you created Nora Allen." Nora Allen didn't really exist int he comics prior to [The Flash: Rebirth]. I hope to God it plays for him, that he liked it. I sent him a picture of a grave that's in the episode with Nora's name on it.
So I was lucky. I got very, very lucky. If they gave me the episode that came before mine -- when Barry went into the machine -- I wouldn't have been able to do as good a job as I did. The visit with the mom stuff? Holy sh-t, dude, that was right in my sweet spot. I'm a 45-year-old man, so this is an episode about a man who's looking back on his life. So who better to do that than somebody who does that every minute of his day?
As a fan, was there any part of you that was like "Oh, sh-t" when the starting point of the episode was this huge spoiler that last week ended on?
[Laughs] There was a moment where I was like, "I'm gonna direct The Flash," but then I got my script and then it was like, I got my script and "He's dead, what do I do here?"
But rest assured, if you're doing a TV show called The Flash, sooner or later he's going to be in that suit, and it's no different in our episode here. So coming into it, I wasn't as current. I read my script without having seen the episode or read the script for the episode before mine, but it's pretty clear from the jump what's going on. But the good news is, by page four in my script, we're with Barry, and the whole episode is kind of about his journey back to The Flash.
So it culminates with the costume, which is really kind of sweet. There's a moment in the show where he strikes a pose wearing that suit, and your knees go weak, man. I definitely got to play with the character; if you're going to do a show called The Flash, it's nice to get to do scenes where he's actually wearing The Flash costume, but the episode is so strong that even if we never got to see him in the costume, it still would have played. It might have been controversial inasmuch as people would have been like "Where the hell is The Flash?" but the character stuff is so rich, and it really is Grant's episode from top to bottom.
In a fair world, he would get some kind of Emmy nod or Golden Globe nod. They don't really pay attention to shows like this and I don't know why. They ignored Battlestar Galactica for years and now they're ignoring The Flash, which is an amazingly written show, acted show, directed show. Grant gives a killer performance, and I say that as a guy who's a fan of what he's done on the show. I got to see why he's good, man. I saw the dude's process. He's 100% real, man. He's a real actor, 100% performer. It's in his blood. Dude's going to win an award someday. Maybe not for this show, but he's going to win an Oscar.
While we were making the episode, before we do the take, I'm always cheerleading: "Alright, we're doing a big, emotional scene, folks. There's a lot of tears. We're going to reach out to the fans, reach into their chests, pull their hearts out, and eat it right in front of them, this scene is so heartbreakingly good." I said, "What we need to do is aim high. I'd say we're going for an Emmy here, but bulls--t. Let's go for an Oscar. I know it's a TV show, so it's impossible, but imagine if we pull it off! Let's give an Oscar-worthy performance.
And damn it, if the performances weren't so good in the episode. I'm so happy with it. As a Flash fan, I'm happy with the episode. As a filmmaker, as the guy who directed it, I'm like, "Right on, we didn't embarrass anybody, and the show looks really great." But as a Flash fan, I love watching this side by side...I've watched my episode 50 times and I've watched the Season One finale 100 times. Now what I do is I double-fist them; I watch the finale and then I watch my episode because it's all-Nora action. Bring tissues; it's good stuff.
http://comicbook.com/2016/05/09/kevin-s ... l-sequel-/
Kevin Smith: Cómo llegué a dirigir "The Flash"
Por Natalie Abrams 10 Mayo 2016
Prolific filmmaker and lifelong comic book fan Kevin Smith directed Tuesday’s episode of The Flash, which features the aftermath of Barry Allen (Grant Gustin) disappearing after Team Flash recreated the particle accelerator explosion in a bid to give him his powers back. What follows is the unfiltered story of how Smith, in his own words, came to direct an episode of The Flash.
I wasn’t approached to direct The Flash, what had happened was Jordan Monsanto, who runs our company SModco, that’s Jason Mewes’ wife, she heard me talking about the show at great lengths. Jason had been begging me to watch The CW/DC shows since they began. He’s a massive Arrow fan; I mean he watches everything on CW, what I call the shirtless boy network. And he consumes every piece of media, but he especially loves the Berlanti Universe stuff, so he tried to get me to watch Arrow and I said, “No, you watch it for me dude.” And then he said, “They introduced Flash.” And I said, “I saw The Flash in the ’90s on TV, I’m good.”
Then one night he called me up, second season of Flash, when they were doing a King Shark appearance at the end of the episode. And Mewes never calls my house. Never. I saw his name pop up and I quickly answered, I said, “Hello,” and he screams, “Turn on the TV, you got to turn on the TV right now.” And the last time he did that was during September 11th, when that was going on, so immediately I’m like, “Are we under attack?” And he’s like, “No, King Shark is on Flash.” And I was like, “Jesus Christ dude, f—ing last time you screamed at me like that — I thought ISIS was here or something like that!” And he’s like, “Who’s she?” I said, “Listen dude, I’m not going to watch this.” And he goes, “You’ve got to see King Shark though. He’s holding him by the neck, King Shark’s picking up Flash by the neck. It looks amazing.” He’s like, “Oh, it’s over. You missed it.”
So I went online to Twitter and people start posting images of King Shark going, “Holy sh–, King Shark.” And for those who don’t follow this sort of thing, King Shark is one the weirdest, lamest DC super villains there is. He’s just like a shark with pants that walks on land. You can pull him off on the comics page, but to try him in real life on that show, that made we want to try The Flash, because I was like, “You have to have confidence and like a 10-inch f—ing c–k in order to go, ‘Let’s pull off King Shark.’” That’s where you can potentially lose it, that’s where your show can potentially jump the King Shark, if you will.
So I said I got to watch it now, after all this time I’ve got to give it a shot. And I watched it and I thought the episode was incredibly well done. No. 1, King Shark looked amazing. I mean, if you’re going to do King Shark, holy crap he looked fantastic. No. 2, I just liked the structure of it, man. There’s something really appealing about the show, it actually felt like a Flash comic book that I had read — not the exact issue, but the same tone, feeling, depths of a comic book that I used to read in the late ’80s, early ’90s when I was a big Flash reader. They had gotten the tone down to a science.
Each episode of The Flash, I learned when I went back and watched all of season 1, plays like a standalone episode or issue of a comic book. It’s amazing. You find out later on they build the foundation of every episode on three very strong pillars: heart, humor, and spectacle. If they don’t have that, they don’t make the episode. Heart and humor definitely appeal to me, that’s in my wheel house, and spectacle is always the thing that’s outside my grasp, but on Flash it looks better than anything I ever do, but it’s not like, “Oh my god, we need five weeks to shoot this.” You know they shoot it on a regular basis, so it’s doable spectacle.
I fell in love with the show and started talking to everyone about it. Jason became my point man, because he’d seen every single episode of not just Flash, but Arrow and stuff like that. We’d go back and forth sometimes like, “I don’t understand what they’re talking about in this point here.” And Jason’s like, “Ah that’s from that one thing that happened over on Arrow in Starling City.” And my wife would mock us mercifully like, “Look at you two old ladies and your stories man. What are Nikki and Victor up to this week?” I was like, “F— you, this is The Flash, this is serious.”
I fell in love with it big time. I put up a video of me watching the season finale and crying, like balling; not just rolling a single tear like the Native American who sees some garbage by the roadside, I’m talking about full blubber, with my man boobs f—ing going back and forth almost hitting me in the chin. I put it up on my YouTube channel and my mom called me. I guess somebody had forwarded it to her, and she goes, “Oh Tiger, I just saw you crying in a video on the internet.” And I was like, “Which one?” And she was like, “You were watching The Flash and the boy’s mom died.” And I said, “Oh, it’s an insanely well done show.” And my mom was like, “God, I hope you cry that hard when I die one day.” I said, “I will, don’t worry about it.”
At that point, I was kind of confirmed as a hardcore Flash fan. I started talking about it a lot on the podcast. We had Andrew Kreisberg on Fatman on Batman, the podcast that I do. So, being that I liked it so much, it never occurred to me to take my fandom to the next level. Jordan Monsanto did. One day she calls me, she goes, “I know you’re going to hate this but I called up boy Jordan.” Girl Jordan runs our company; boy Jordan is my TV agent. She goes, “I called up boy Jordan and I told him that you like The Flash a lot so maybe he should call The Flash production office and see if they’ll let you direct an episode.” And I was like, “Why the f— would you do that man?” I don’t need no handouts. I said, “We’re busy, we’re doing sh–. I don’t need to be asking CW for a job.” She goes, “Calm down, they said yeah.” I was like, “Good job, that a girl. Way to think outside the box. Holy sh–, really?” Then suddenly I was in Flash world — it was that simple.
Girl Jordan called boy Jordan, boy Jordan called The Flash production office and was like, “Hey, you know Kevin Smith?” And they’re like, “Yeah, Dogma.” And he said, “He loves the show, would you ever let him direct an episode?” And they said, “Sure.” And that’s how it happened. It was that f—ing simple, it was crazy. But because Jordan made the call and what not, J[ason] held it over my head and he was like, “You’ve got to bring me with you.” And I was like, “Dude, I can’t cast you in a show that I just found out I got. That’s weird, like I can’t go in and start making demands and sh–.” And he said, “I don’t care, I don’t need to be in it. I just want to go up there and see it happen and stuff.” I said, “How?” And he goes, “I’ll be your assistant.” And I said, “You kind of are my assistant in real life.”
He came up with me to The Flash and when we got there that’s when I first got the episode. The episode’s written by Zack Stentz, who wrote Thor, the first screenplay for the first movie, and he co-wrote the X-Men movie First Class, so he comes from the world of comic book movie writing. They got him writing a script, this episode “Runaway Dinosaur” it’s called. You don’t see the script until you get up there. They write right up until the last minute. Then boom I saw the script and it was amazing. It’s perfect; it’s right up my alley. A lot of character stuff, a lot of emotional scenes, big time emotional scenes. The script felt like, and the episode really feels like, a spiritual sequel to the season 1 finale. They are kind of side-by-side episodes. That was my watermark that I was hitting for. That was the most fantastic episode of the show that they’ve ever done and also one of the strongest hours of television ever produced. Luckily Zack wrote a script that allowed us to do that.
The Flash producers plotted [an episode] where I came on and Barry is gone, essentially dead and in the speed force. It was like doing an episode in heaven. Nobody calls it that in the show, but we’re in the afterlife. For some reason that is just so up my alley, particularly the emotional stuff. I think they might have seen the video of me crying and said, “He’ll be able to do this episode.” Because this episode is like a three-hanky episode. I mean three hankies because two of them you are using to cry, there is so much emotional stuff in the episode, and the third one you’re using to fill because you’re just blasting your shorts. I don’t know what I can say in EW these days. You will c– your shorts is what I’m saying, that’s how f—ing strong the episode is.
I’m not saying I made it great or anything like that; I just relied on the folks who make this show every week, man. That’s the thing: I was never going to go up there and be like, “Let me show you f—ers how to make The Flash. No. 1, Barry should say c—sucker a lot more.” No, obviously not. If I want to do my stuff, I can do that in my stuff all the time. If I want to ruin things, I can ruin my own piece of work. Flash, I didn’t want to go up in ruin.
I wanted to go up and really just make an episode that nobody would even notice, you know what I’m saying? That was my aim. I didn’t want to do something where people go, “Kevin Smith directed that episode.” I wanted to make an episode that was just seamlessly fit into their world, so without the directive of like, “I’m going to go up there and run my stank on this show.” Really, I just went up as a total fan and my job became one of opinion and suggestion.
Basically you’ve got people who do the show on a regular basis, both the cast and crew, and f—ing knock it out the park, so much so that I became an insta-fan. I was like, “Let me lean on the cats that are here.” Kim Miles is our DP, crushed it with this episode. I’ve been a filmmaker — this is embarrassing to admit — for 22 years, but I probably learned more in eight days of directing The Flash than I have in the previous 22 years fuddling around doing this sh– on my own.
There’s something to be said for walking into a set-up where you don’t get to play your game, you got to play the game. So when I direct my stuff, I usually write it and I also edit it, so I buttress my direction, which is weak. If you ask any critic, they will tell you I’m a bad director. But I buttress it with the writing of the script and the editing of the script, so I control as much of it as possible. Directing has never been my first language. I’m a writer, first and foremost, who happened to wind up directing his own scripts.
On this, I couldn’t write it because Zack already wrote it and crushed it. I couldn’t edit it because we had Felicia [Mignon]. They had a crew of editors there and I certainly ain’t taking a job away from anybody, let alone a woman in film, so Felicia was our editor. All that left me to do was the one job that most people know me for, but the one job I feel least comfortable ever doing, which is directing. Forced to solely direct and focus concentration on that, I actually became stronger, man. Kim Miles was a big part of that. Anytime I was like, “Hey man, so how about we move over here? We take the shot, we start the shot, we roll over here and we pick this up.” He was never like, “That’s idiotic.” He’d be like, “That’s good. And then we can…” And then he’d turn it into the shot that it became, making it really more beautiful. He was definitely dialed up to 11 as they say.
Who else? Lexi [La Roche], who is our script supervisor, I consider her the co-director of the episode, because she sits there for every episode, she sees everything. She’s in the God spot. She knows more about the characters, their motivations, and the history of the show than even some of the writers, because she’s been there for the shooting of every episode. Continuity, that’s the job she does, with script supervision you oversee that completely. She was an incredible asset to have in terms of me wanting to get it as Flash as possible. I don’t want anybody watching the episode and be like, “He f—ed up continuity,” or, “This is where they jumped the shark, or the King Shark.” I wanted everybody to be like, “Yeah man, this is a strong Flash. This fits in, it’s not going to stick out like a sore thumb.”
It’s a collaborative medium and being there as the guest director is kind of like being the guest host of SNL. You know if that person got shot by a person in the rafters and they dropped them right there on the floor and everyone was like, “Oh my god,” they could still make the show that night; that person isn’t really that essential. It would be tragic, no one wants to see the guest host of SNL get gunned down, but the show would still go on. Same with me. If I stepped onto set on my directing gig on Flash and was like, “OK, I’m ready to do this,” and somebody took me out with a sniper rifle, they would be sad for a little bit because they’d be like, “Oh, Silent Bob seemed like a nice guy in pre.” But they’ve got a schedule to keep, they’ve got eight days to shoot 50 pages, they’re going to go forward and they can do it leaderless.
They don’t need a director there, they do it every week and the directors that come in bring a little something to it. But these people are such wonderful artisans, you could do it without a director. My take on Flash as director, I offered a lot of opinion and suggestion. That was just to get us going. But since everyone knows their characters so well, they’ve been doing them for two seasons, I’m certainly not going to be like, “Grant, let me tell you how to be Barry.” He knows how to be Barry, man. So instead of enforcing your vision on them, you go like, “Hey, gloves are off, go be as Barry as you can, man.” Particularly with this really touchy, feely stuff. Lot of emotional stuff, lot of him getting glassy-eyed on the verge of crying and then breaking down. So certainly I’m not going to teach the guy how to cry. I mean, I could be like, “Look, how I do it is I think about all the career I’ve wasted and the tears come.” But he doesn’t need that because this dude does this on a regular basis.
Grant’s process was amazing. This kid is going to win an Oscar one day, certainly not for playing The Flash, because it’s a TV show, but they’re lucky to have him and he’s lucky to have them as well. I hope it goes on forever, but one day he’s going to be off this show and he’s easily going to win an award. The dude’s true grit, he’s an amazing actor. Watching his process was really fun, to be like, “Oh my lord, this is how it gets to Barry on The Flash.”
The strongest muscle I brought to the job is that I’m a very enthusiastic person, particularly when I’m directing. In the early days, when I didn’t know how to do it and I was figuring it out, I would just pretty much communicate what we were doing to the keys, that’s how you do it on a movie set. On Clerks, we only had two or three people, so it wasn’t a lot of people to communicate to. When we got to Mallrats, suddenly you’ve got a crew of 70-100 people. I hate directing in front of people, because it’s an embarrassing job. Really it’s just being paid to make pretend for a living as a grown up. An embarrassing job to do in front of people because I felt like, “Oh my god, they are going to see what a charlatan thing this whole thing is, like there’s no such thing.”
Back in the day, I’d communicate whatever we were doing to the rest of the crew via the keys, the heads of the departments, that’s the normal process. But once I became a stoner, and I think that was after Zack and Miri, suddenly I realized, “Oh, don’t be that guy. You’re not an artist, you’re not that clown that needs to be like, ‘Hey man, I’m a think tank over here and I need to be with other thinkers, and everybody can’t understand my vision.’” No, just tell everybody. The quickest route between two points is the direct line, and the job of the crew is to try to get out of the head the vision that this dopey director has for what everything is supposed to look like when it’s all said and done. Best way to do that is to give everyone as much information as possible.
I became like more of a host on the movies. Later on, in the episode of The Flash, basically I just narrated the whole damn thing and told people what we’re doing like, “OK folks, this is it, we’re doing the second take of this scene only because I missed something. The performances were amazing, all the good is yours, only the bad is mine. So basically we’re going to pick this whole scene up one more time, just this take, just to get this one movement and when we’re done we’re going to be moving out of this for good, so I urge you, before we move on from this, seize this moment. This moment is never going to come again and you’re never going to say these words again, this camera is never going to be sitting there again. We will never be in this exact situation again, so let’s enjoy this. Let’s suck the marrow out of this moment, because we’re all overgrown children who get paid to make pretend for a living. We’ve got the greatest job in the world. And it got even better because we’re doing The Flash, so let’s do it. Action!”
I began every take in that fashion and that sounds obnoxious, I guess, but people love it on set. You bring that level of enthusiasm to every shot, it bleeds in. I’m not much at directing, but I know I’m a very enthusiastic director and I’ve been told over the course of my career, “You just make me want to do it man, it’s crazy. I like this, but you make me like it even more.” That’s why I end up getting pretty good casts.
This is the first time I’ve ever done something where I’m moving into an episodic that’s been up and running. I directed a pilot, Reaper for CW, back in the day, but directing the first episode is like directing a movie; you set the tone and all that stuff. When you’re doing a show where they’ve been doing it for two seasons and you’re just coming into it in the middle of it, you basically have to do their show; you can’t do your show. Going into it I was like, “I’m not going to try to make this a Kevin Smith thing, I’m just going do the best episode of Flash that I possibly can do and the only way I know how do that is to this job the way I normally do, which is chatty, gregarious, like telling everyone how great this is, cheerleading.” My job as director comes down to opinion, suggestion, and cheerleading.
It’s fun. You’ve got to remind everyone, especially when you’re in series television, it can become like any other job where, “This is what I do.” Sometimes you forget, “Oh my god, what’s better than this? You know what’s worse than this? Almost every other job on the planet, because all we are doing here is making pretend and they pay us for this. We don’t even need to fund it out of our own pockets. It’s not a waste of time because this is how we spend our time.” For an outsider to jump in and be like, “You guys are so lucky, you make the f—ing Flash every week,” that rubs off on every person, every department, every level.
Sometimes it just helps to have an outsider come in and remind people like, “This rules and what you guys do is amazing, so much so that like I changed every aspect of my life, which is usually full of stupid sh–, to be here and see how you do it. I didn’t come up here to get no check and I didn’t come up here to fix your broken f—ing show. I came here to learn, because you guys are like Tibetan ninjas or wizards of turning a show about a guy who solves all of his problems simply running real fast and they turn it into something even better, something more artistic, something special, something emotional.”
People have seen the artwork, they’ve released pictures online, so I guess I can say it, Barry’s mom is in the episode and that’s like porn if you’re a Flash lover. All the Barry mom stuff is not only cannon, but it’s the heart of the show. It’s a show about a boy who lost his mom in this mystery f—ing crime in his childhood that destroyed his family. Season 1, they break through all that, he finds a little redemption, but he can’t bring his mom back from the dead. Whenever you deal with Nora Allen on this show, it’s big stakes, it’s wonderful and it gives you an opportunity to cut right to the heart and soul of what that show is. And Grant is always fantastic on the show, but he is absolutely at his best when he’s working with Michelle [Harrison], who plays his mom. I was delighted when I cracked open that script and I saw Barry’s mom. I literally lost my breath, gasped when I saw the act end break and he goes, “Mom.” And I was like, “Oh sh–, I got this son.”
There’s spectacle in the show, don’t get me wrong. We bring back Girder, and Greg Finley crushes it, so there’s monster-of-the-week aspect, as they always do, and there’s mythology and there’s special effects. There’s the required spectacle, as per every episode, but it is so deep on emotion. Every episode has heart, humor, and spectacle. There’s so much heart in this episode, it’s crazy nuts.
We had this moment where Barry is with his home in the speed force and they’re reading this book — you know, spoilers — that’s the title, “The Runaway Dinosaur” is about a kid’s book that she used to read to him all the time, and I get glassy eyed just saying it out loud, that’s how much I love the f—ing episode.
http://www.ew.com/article/2016/05/10/fl ... h-director?
Por Natalie Abrams 10 Mayo 2016
Prolific filmmaker and lifelong comic book fan Kevin Smith directed Tuesday’s episode of The Flash, which features the aftermath of Barry Allen (Grant Gustin) disappearing after Team Flash recreated the particle accelerator explosion in a bid to give him his powers back. What follows is the unfiltered story of how Smith, in his own words, came to direct an episode of The Flash.
I wasn’t approached to direct The Flash, what had happened was Jordan Monsanto, who runs our company SModco, that’s Jason Mewes’ wife, she heard me talking about the show at great lengths. Jason had been begging me to watch The CW/DC shows since they began. He’s a massive Arrow fan; I mean he watches everything on CW, what I call the shirtless boy network. And he consumes every piece of media, but he especially loves the Berlanti Universe stuff, so he tried to get me to watch Arrow and I said, “No, you watch it for me dude.” And then he said, “They introduced Flash.” And I said, “I saw The Flash in the ’90s on TV, I’m good.”
Then one night he called me up, second season of Flash, when they were doing a King Shark appearance at the end of the episode. And Mewes never calls my house. Never. I saw his name pop up and I quickly answered, I said, “Hello,” and he screams, “Turn on the TV, you got to turn on the TV right now.” And the last time he did that was during September 11th, when that was going on, so immediately I’m like, “Are we under attack?” And he’s like, “No, King Shark is on Flash.” And I was like, “Jesus Christ dude, f—ing last time you screamed at me like that — I thought ISIS was here or something like that!” And he’s like, “Who’s she?” I said, “Listen dude, I’m not going to watch this.” And he goes, “You’ve got to see King Shark though. He’s holding him by the neck, King Shark’s picking up Flash by the neck. It looks amazing.” He’s like, “Oh, it’s over. You missed it.”
So I went online to Twitter and people start posting images of King Shark going, “Holy sh–, King Shark.” And for those who don’t follow this sort of thing, King Shark is one the weirdest, lamest DC super villains there is. He’s just like a shark with pants that walks on land. You can pull him off on the comics page, but to try him in real life on that show, that made we want to try The Flash, because I was like, “You have to have confidence and like a 10-inch f—ing c–k in order to go, ‘Let’s pull off King Shark.’” That’s where you can potentially lose it, that’s where your show can potentially jump the King Shark, if you will.
So I said I got to watch it now, after all this time I’ve got to give it a shot. And I watched it and I thought the episode was incredibly well done. No. 1, King Shark looked amazing. I mean, if you’re going to do King Shark, holy crap he looked fantastic. No. 2, I just liked the structure of it, man. There’s something really appealing about the show, it actually felt like a Flash comic book that I had read — not the exact issue, but the same tone, feeling, depths of a comic book that I used to read in the late ’80s, early ’90s when I was a big Flash reader. They had gotten the tone down to a science.
Each episode of The Flash, I learned when I went back and watched all of season 1, plays like a standalone episode or issue of a comic book. It’s amazing. You find out later on they build the foundation of every episode on three very strong pillars: heart, humor, and spectacle. If they don’t have that, they don’t make the episode. Heart and humor definitely appeal to me, that’s in my wheel house, and spectacle is always the thing that’s outside my grasp, but on Flash it looks better than anything I ever do, but it’s not like, “Oh my god, we need five weeks to shoot this.” You know they shoot it on a regular basis, so it’s doable spectacle.
I fell in love with the show and started talking to everyone about it. Jason became my point man, because he’d seen every single episode of not just Flash, but Arrow and stuff like that. We’d go back and forth sometimes like, “I don’t understand what they’re talking about in this point here.” And Jason’s like, “Ah that’s from that one thing that happened over on Arrow in Starling City.” And my wife would mock us mercifully like, “Look at you two old ladies and your stories man. What are Nikki and Victor up to this week?” I was like, “F— you, this is The Flash, this is serious.”
I fell in love with it big time. I put up a video of me watching the season finale and crying, like balling; not just rolling a single tear like the Native American who sees some garbage by the roadside, I’m talking about full blubber, with my man boobs f—ing going back and forth almost hitting me in the chin. I put it up on my YouTube channel and my mom called me. I guess somebody had forwarded it to her, and she goes, “Oh Tiger, I just saw you crying in a video on the internet.” And I was like, “Which one?” And she was like, “You were watching The Flash and the boy’s mom died.” And I said, “Oh, it’s an insanely well done show.” And my mom was like, “God, I hope you cry that hard when I die one day.” I said, “I will, don’t worry about it.”
At that point, I was kind of confirmed as a hardcore Flash fan. I started talking about it a lot on the podcast. We had Andrew Kreisberg on Fatman on Batman, the podcast that I do. So, being that I liked it so much, it never occurred to me to take my fandom to the next level. Jordan Monsanto did. One day she calls me, she goes, “I know you’re going to hate this but I called up boy Jordan.” Girl Jordan runs our company; boy Jordan is my TV agent. She goes, “I called up boy Jordan and I told him that you like The Flash a lot so maybe he should call The Flash production office and see if they’ll let you direct an episode.” And I was like, “Why the f— would you do that man?” I don’t need no handouts. I said, “We’re busy, we’re doing sh–. I don’t need to be asking CW for a job.” She goes, “Calm down, they said yeah.” I was like, “Good job, that a girl. Way to think outside the box. Holy sh–, really?” Then suddenly I was in Flash world — it was that simple.
Girl Jordan called boy Jordan, boy Jordan called The Flash production office and was like, “Hey, you know Kevin Smith?” And they’re like, “Yeah, Dogma.” And he said, “He loves the show, would you ever let him direct an episode?” And they said, “Sure.” And that’s how it happened. It was that f—ing simple, it was crazy. But because Jordan made the call and what not, J[ason] held it over my head and he was like, “You’ve got to bring me with you.” And I was like, “Dude, I can’t cast you in a show that I just found out I got. That’s weird, like I can’t go in and start making demands and sh–.” And he said, “I don’t care, I don’t need to be in it. I just want to go up there and see it happen and stuff.” I said, “How?” And he goes, “I’ll be your assistant.” And I said, “You kind of are my assistant in real life.”
He came up with me to The Flash and when we got there that’s when I first got the episode. The episode’s written by Zack Stentz, who wrote Thor, the first screenplay for the first movie, and he co-wrote the X-Men movie First Class, so he comes from the world of comic book movie writing. They got him writing a script, this episode “Runaway Dinosaur” it’s called. You don’t see the script until you get up there. They write right up until the last minute. Then boom I saw the script and it was amazing. It’s perfect; it’s right up my alley. A lot of character stuff, a lot of emotional scenes, big time emotional scenes. The script felt like, and the episode really feels like, a spiritual sequel to the season 1 finale. They are kind of side-by-side episodes. That was my watermark that I was hitting for. That was the most fantastic episode of the show that they’ve ever done and also one of the strongest hours of television ever produced. Luckily Zack wrote a script that allowed us to do that.
The Flash producers plotted [an episode] where I came on and Barry is gone, essentially dead and in the speed force. It was like doing an episode in heaven. Nobody calls it that in the show, but we’re in the afterlife. For some reason that is just so up my alley, particularly the emotional stuff. I think they might have seen the video of me crying and said, “He’ll be able to do this episode.” Because this episode is like a three-hanky episode. I mean three hankies because two of them you are using to cry, there is so much emotional stuff in the episode, and the third one you’re using to fill because you’re just blasting your shorts. I don’t know what I can say in EW these days. You will c– your shorts is what I’m saying, that’s how f—ing strong the episode is.
I’m not saying I made it great or anything like that; I just relied on the folks who make this show every week, man. That’s the thing: I was never going to go up there and be like, “Let me show you f—ers how to make The Flash. No. 1, Barry should say c—sucker a lot more.” No, obviously not. If I want to do my stuff, I can do that in my stuff all the time. If I want to ruin things, I can ruin my own piece of work. Flash, I didn’t want to go up in ruin.
I wanted to go up and really just make an episode that nobody would even notice, you know what I’m saying? That was my aim. I didn’t want to do something where people go, “Kevin Smith directed that episode.” I wanted to make an episode that was just seamlessly fit into their world, so without the directive of like, “I’m going to go up there and run my stank on this show.” Really, I just went up as a total fan and my job became one of opinion and suggestion.
Basically you’ve got people who do the show on a regular basis, both the cast and crew, and f—ing knock it out the park, so much so that I became an insta-fan. I was like, “Let me lean on the cats that are here.” Kim Miles is our DP, crushed it with this episode. I’ve been a filmmaker — this is embarrassing to admit — for 22 years, but I probably learned more in eight days of directing The Flash than I have in the previous 22 years fuddling around doing this sh– on my own.
There’s something to be said for walking into a set-up where you don’t get to play your game, you got to play the game. So when I direct my stuff, I usually write it and I also edit it, so I buttress my direction, which is weak. If you ask any critic, they will tell you I’m a bad director. But I buttress it with the writing of the script and the editing of the script, so I control as much of it as possible. Directing has never been my first language. I’m a writer, first and foremost, who happened to wind up directing his own scripts.
On this, I couldn’t write it because Zack already wrote it and crushed it. I couldn’t edit it because we had Felicia [Mignon]. They had a crew of editors there and I certainly ain’t taking a job away from anybody, let alone a woman in film, so Felicia was our editor. All that left me to do was the one job that most people know me for, but the one job I feel least comfortable ever doing, which is directing. Forced to solely direct and focus concentration on that, I actually became stronger, man. Kim Miles was a big part of that. Anytime I was like, “Hey man, so how about we move over here? We take the shot, we start the shot, we roll over here and we pick this up.” He was never like, “That’s idiotic.” He’d be like, “That’s good. And then we can…” And then he’d turn it into the shot that it became, making it really more beautiful. He was definitely dialed up to 11 as they say.
Who else? Lexi [La Roche], who is our script supervisor, I consider her the co-director of the episode, because she sits there for every episode, she sees everything. She’s in the God spot. She knows more about the characters, their motivations, and the history of the show than even some of the writers, because she’s been there for the shooting of every episode. Continuity, that’s the job she does, with script supervision you oversee that completely. She was an incredible asset to have in terms of me wanting to get it as Flash as possible. I don’t want anybody watching the episode and be like, “He f—ed up continuity,” or, “This is where they jumped the shark, or the King Shark.” I wanted everybody to be like, “Yeah man, this is a strong Flash. This fits in, it’s not going to stick out like a sore thumb.”
It’s a collaborative medium and being there as the guest director is kind of like being the guest host of SNL. You know if that person got shot by a person in the rafters and they dropped them right there on the floor and everyone was like, “Oh my god,” they could still make the show that night; that person isn’t really that essential. It would be tragic, no one wants to see the guest host of SNL get gunned down, but the show would still go on. Same with me. If I stepped onto set on my directing gig on Flash and was like, “OK, I’m ready to do this,” and somebody took me out with a sniper rifle, they would be sad for a little bit because they’d be like, “Oh, Silent Bob seemed like a nice guy in pre.” But they’ve got a schedule to keep, they’ve got eight days to shoot 50 pages, they’re going to go forward and they can do it leaderless.
They don’t need a director there, they do it every week and the directors that come in bring a little something to it. But these people are such wonderful artisans, you could do it without a director. My take on Flash as director, I offered a lot of opinion and suggestion. That was just to get us going. But since everyone knows their characters so well, they’ve been doing them for two seasons, I’m certainly not going to be like, “Grant, let me tell you how to be Barry.” He knows how to be Barry, man. So instead of enforcing your vision on them, you go like, “Hey, gloves are off, go be as Barry as you can, man.” Particularly with this really touchy, feely stuff. Lot of emotional stuff, lot of him getting glassy-eyed on the verge of crying and then breaking down. So certainly I’m not going to teach the guy how to cry. I mean, I could be like, “Look, how I do it is I think about all the career I’ve wasted and the tears come.” But he doesn’t need that because this dude does this on a regular basis.
Grant’s process was amazing. This kid is going to win an Oscar one day, certainly not for playing The Flash, because it’s a TV show, but they’re lucky to have him and he’s lucky to have them as well. I hope it goes on forever, but one day he’s going to be off this show and he’s easily going to win an award. The dude’s true grit, he’s an amazing actor. Watching his process was really fun, to be like, “Oh my lord, this is how it gets to Barry on The Flash.”
The strongest muscle I brought to the job is that I’m a very enthusiastic person, particularly when I’m directing. In the early days, when I didn’t know how to do it and I was figuring it out, I would just pretty much communicate what we were doing to the keys, that’s how you do it on a movie set. On Clerks, we only had two or three people, so it wasn’t a lot of people to communicate to. When we got to Mallrats, suddenly you’ve got a crew of 70-100 people. I hate directing in front of people, because it’s an embarrassing job. Really it’s just being paid to make pretend for a living as a grown up. An embarrassing job to do in front of people because I felt like, “Oh my god, they are going to see what a charlatan thing this whole thing is, like there’s no such thing.”
Back in the day, I’d communicate whatever we were doing to the rest of the crew via the keys, the heads of the departments, that’s the normal process. But once I became a stoner, and I think that was after Zack and Miri, suddenly I realized, “Oh, don’t be that guy. You’re not an artist, you’re not that clown that needs to be like, ‘Hey man, I’m a think tank over here and I need to be with other thinkers, and everybody can’t understand my vision.’” No, just tell everybody. The quickest route between two points is the direct line, and the job of the crew is to try to get out of the head the vision that this dopey director has for what everything is supposed to look like when it’s all said and done. Best way to do that is to give everyone as much information as possible.
I became like more of a host on the movies. Later on, in the episode of The Flash, basically I just narrated the whole damn thing and told people what we’re doing like, “OK folks, this is it, we’re doing the second take of this scene only because I missed something. The performances were amazing, all the good is yours, only the bad is mine. So basically we’re going to pick this whole scene up one more time, just this take, just to get this one movement and when we’re done we’re going to be moving out of this for good, so I urge you, before we move on from this, seize this moment. This moment is never going to come again and you’re never going to say these words again, this camera is never going to be sitting there again. We will never be in this exact situation again, so let’s enjoy this. Let’s suck the marrow out of this moment, because we’re all overgrown children who get paid to make pretend for a living. We’ve got the greatest job in the world. And it got even better because we’re doing The Flash, so let’s do it. Action!”
I began every take in that fashion and that sounds obnoxious, I guess, but people love it on set. You bring that level of enthusiasm to every shot, it bleeds in. I’m not much at directing, but I know I’m a very enthusiastic director and I’ve been told over the course of my career, “You just make me want to do it man, it’s crazy. I like this, but you make me like it even more.” That’s why I end up getting pretty good casts.
This is the first time I’ve ever done something where I’m moving into an episodic that’s been up and running. I directed a pilot, Reaper for CW, back in the day, but directing the first episode is like directing a movie; you set the tone and all that stuff. When you’re doing a show where they’ve been doing it for two seasons and you’re just coming into it in the middle of it, you basically have to do their show; you can’t do your show. Going into it I was like, “I’m not going to try to make this a Kevin Smith thing, I’m just going do the best episode of Flash that I possibly can do and the only way I know how do that is to this job the way I normally do, which is chatty, gregarious, like telling everyone how great this is, cheerleading.” My job as director comes down to opinion, suggestion, and cheerleading.
It’s fun. You’ve got to remind everyone, especially when you’re in series television, it can become like any other job where, “This is what I do.” Sometimes you forget, “Oh my god, what’s better than this? You know what’s worse than this? Almost every other job on the planet, because all we are doing here is making pretend and they pay us for this. We don’t even need to fund it out of our own pockets. It’s not a waste of time because this is how we spend our time.” For an outsider to jump in and be like, “You guys are so lucky, you make the f—ing Flash every week,” that rubs off on every person, every department, every level.
Sometimes it just helps to have an outsider come in and remind people like, “This rules and what you guys do is amazing, so much so that like I changed every aspect of my life, which is usually full of stupid sh–, to be here and see how you do it. I didn’t come up here to get no check and I didn’t come up here to fix your broken f—ing show. I came here to learn, because you guys are like Tibetan ninjas or wizards of turning a show about a guy who solves all of his problems simply running real fast and they turn it into something even better, something more artistic, something special, something emotional.”
People have seen the artwork, they’ve released pictures online, so I guess I can say it, Barry’s mom is in the episode and that’s like porn if you’re a Flash lover. All the Barry mom stuff is not only cannon, but it’s the heart of the show. It’s a show about a boy who lost his mom in this mystery f—ing crime in his childhood that destroyed his family. Season 1, they break through all that, he finds a little redemption, but he can’t bring his mom back from the dead. Whenever you deal with Nora Allen on this show, it’s big stakes, it’s wonderful and it gives you an opportunity to cut right to the heart and soul of what that show is. And Grant is always fantastic on the show, but he is absolutely at his best when he’s working with Michelle [Harrison], who plays his mom. I was delighted when I cracked open that script and I saw Barry’s mom. I literally lost my breath, gasped when I saw the act end break and he goes, “Mom.” And I was like, “Oh sh–, I got this son.”
There’s spectacle in the show, don’t get me wrong. We bring back Girder, and Greg Finley crushes it, so there’s monster-of-the-week aspect, as they always do, and there’s mythology and there’s special effects. There’s the required spectacle, as per every episode, but it is so deep on emotion. Every episode has heart, humor, and spectacle. There’s so much heart in this episode, it’s crazy nuts.
We had this moment where Barry is with his home in the speed force and they’re reading this book — you know, spoilers — that’s the title, “The Runaway Dinosaur” is about a kid’s book that she used to read to him all the time, and I get glassy eyed just saying it out loud, that’s how much I love the f—ing episode.
http://www.ew.com/article/2016/05/10/fl ... h-director?
Kevin Smith accede a la Speed Force para su episodio de "The Flash"
Por Bryan Cairns, 10 Mayo 2016
SPOILER WARNING: The following interview contains some spoilers for the May 10 episode of "The Flash."
Barry Allen can't seem to catch a break. After Zoom stole Barry's speed, Team Flash attempted to recreate the accelerator explosion that granted Barry his powers. Unfortunately, the plan backfired, and Barry was vaporized by the blast -- or was he?
With only three episodes left in the series' second season, director Kevin Smith stepped in to kick things up a notch and handle Barry's life after death. Ahead of tonight's episode, "The Runaway Dinosaur," Smith spoke with CBR News about how being a Flash fan led to him directing an episode of the series, details about Barry's Speed Force adventure, which includes a big moment between Iris and Barry. Plus, Smith addressed Jesse and Wally's fate following the explosion that sent Barry into the Speed Force, and whether his episode will also feature the birth of a hero!
CBR News: You haven't directed episodic television since 2007's "Reaper" pilot. How did this "Flash" gig come about?
Kevin Smith: I feel kind of lucky. They don't need anybody. Flash has a stable of directors over there doing a great job on that show. It all came together oddly. Jason Mewes' wife, Jordan, who runs our company, called my TV agent, who is also named Jordan -- girl Jordan called boy Jordan. Jason Mewes turned me on to "The Flash," and I became a massive fan, so she tells boy Jordan, "Kevin loves this show. He has been known to direct in the past, sometimes well, so why don't you ask if they will let him direct an episode of 'The Flash?'" It was like, "Hey, you guys know Kevin Smith?" "Oh, yeah, 'Dogma.'" "He would like to direct an episode. What do you guys think about that?" "Yeah, sure. Why not?"
Girl Jordan called me up and said, "Hey, you're going to hate this, but I called boy Jordan and asked him to ask 'The Flash' people if they would let you direct an episode." I was like, "Oh, man. Why would you do that? That makes me look fucking bad. It's like begging for a fucking job. Don't ever fucking do that to me again. We're about to make 'Moose Jaws.' We have shit going on." She's like, "They said, 'Yes.' Don't worry." I was like, "Oooo… Yes! Good job. Well done. Thatagirl. Holy shit."
So, she got me the job. Jason turned me on to the show, and Jordan pushed forward until, suddenly, I had a directing gig on "The Flash."
What kind of flavor, or Kevin Smith-isms, did you want to bring to "The Flash?"
I went up there as a long-time comic-book fan and as a big fan of the show. I didn't go up there as, "I'm a filmmaker. I've done some shit," because I didn't really want to bring me to the show. There are parts of me everyone knows. Most people go, "Kevin Smith. Wow. Flash is going to say 'cocksmoker' this week." I wanted to make sure I did their show, but what I did want to bring to it was that I'm a crazy-enthusiastic cheerleader of a director. I've been told that many times. People like being on our sets. They are friendly and fun, and we're always having a good time. I knew I could bring that to the show. Imagine the enthusiasm I could bring, and boy, did I. I directed like a Baptist preacher on cocaine. "This is great! We all have the greatest job in the world! What do we do? We make 'The Flash!' Let's go! Action!" The cast were coming to the end of their season at that point, and I think I was a nice breath of fresh air. I heard from a bunch of folks, "Dude, you just reenergized me until the end of the show."
What were your thoughts on the script when you received it?
There are two more episodes to go, and those two episodes are big. My episode is kind of like the calm before, the quiet before two very massive episodes happen. I was glad when I saw the script. Thankfully, they didn't get me to write it. They got Zack Stentz to write it. Zack has done a great job writing comic-book movies, so it made sense. He crushed it. I had great emotional stuff to work with. They have three pillars upon which they built that show: heart, humor and spectacle. This episode was filled with a lot of heart. I love every aspect of that show, but what I 'm most attracted to about "Flash" is the emotional stuff.
The heart of that show is about a boy who lost his mom and spends his life trying to grow up with a tragedy he doesn't understand, that tore his family apart, and he still turned into a pretty good guy. He's a moral, good human being thanks to the second family that raised him. Any time you deal with Nora Allen, like the mom stuff of an episode -- That's like porn, if you're a Flash lover. That's the best stuff. "Nora's back!" It just means you're going to get to feel in a big, bad way in the episode. When I opened my script and midway through, Barry says, "Mom," I was like, "Oh, we got this." If I had opened it up and it had read, "Barry fights Grodd," I would have been like, "We're fucked. I don't know how to fucking shoot action. I don't know how to shoot special effects." We've got special effects in our episode, but it's a manageable level for me. Really, what was important was what I could bring to it, which was character stuff. I'm good at that. There's humor, but not a lot.
After the events of the previous episode, Barry appears to be dead. Obviously, that's not the case, so where do we find him in your episode?
Barry is in the Speed Force. The Speed Force speaks to him as the people who are most important to him. It has a bit of Dickens to it, something like ghosts of his past. It's an episode about taking stock. It's somebody looking back at their entire life. Barry meets his maker, looks back at his entire life and tries to figure out what is next.
It wasn't planned this way. It was just because this episode was open. When boy Jordan called and said, "Hey, Kevin would like to direct," they were like, "Okay, he can take the next one." I wound up with the perfect episode for me to handle. Not too much action, but a good amount where it's still definitely "The Flash." And, there's a lot of heart.
How are Barry's friends and family not only grieving over his apparent demise, but dealing with the ongoing threats in Central City?
They learn pre-credits, thanks to Vibe -- or, thanks to Cisco -- that Barry is alive. We begin right after the ending of the last episode. It's right there in the same room with everybody going, "He's gone." Then there's another crisis that takes everybody out of the room, with the exception of Cisco. Cisco grabs what is left of the costume and vibes that Barry is still alive, but they don't know where he is. Cisco is like, "I've seen Barry. He's still alive." Later on in the episode, it's Harrison Wells who figures out Barry is in the Speed Force. Tom [Cavanagh] has this great moment where he goes, "He's in…" and then he does a dramatic turn, "He's in the Speed Force." You're like, "Holy shit." Viewers don't have long to sit there and go, "Barry's gone."
Candice Patton crushed it at the tail-end of that last episode in terms of being emotional. She has great stuff to do in this episode. Since Zoom has taken Caitlin, there's more for Candice to do. Everyone is splitting Caitlin's roles; Henry is there to do the doctoring stuff that Caitlin usually does, Iris is filling in as Cisco's sidekick, or, vice versa. There's a lot more for her to do, both in and out of the Speed Force.
One of the pictures they've released shows Barry sitting there talking to Iris. Candice plays double duty in terms of who she normally plays and also another version of Iris. I'm a big West/Allen fan. We reference the episode where they kiss. We went back and shot in the same place that happened. In our third act, we have what, to me, as a fan of the show, is one of the most powerful West/Allen moments we've ever seen. There's this wordless sequence between them that is really quite beautiful. It demonstrates the power and the strength of their relationship and how deep it goes.
Jesse and Wally were also caught in the accelerator's blast. What can you say about how it affects them?
Right at the top of the show, there's a sequence involving them. There's a thread running throughout the whole show. One of the B-storylines involves Jesse. For Wally, there's a scene that calls back to Joe discovering Barry's speed. We touch on both of them. I will say this: nobody gets a costume in the episode. That was one of my first questions. I was like, "Is somebody going to get a costume in this episode?" I'm not there for the birth of a new hero, is what I'm saying.
http://www.comicbookresources.com/artic ... sh-episode
Por Bryan Cairns, 10 Mayo 2016
SPOILER WARNING: The following interview contains some spoilers for the May 10 episode of "The Flash."
Barry Allen can't seem to catch a break. After Zoom stole Barry's speed, Team Flash attempted to recreate the accelerator explosion that granted Barry his powers. Unfortunately, the plan backfired, and Barry was vaporized by the blast -- or was he?
With only three episodes left in the series' second season, director Kevin Smith stepped in to kick things up a notch and handle Barry's life after death. Ahead of tonight's episode, "The Runaway Dinosaur," Smith spoke with CBR News about how being a Flash fan led to him directing an episode of the series, details about Barry's Speed Force adventure, which includes a big moment between Iris and Barry. Plus, Smith addressed Jesse and Wally's fate following the explosion that sent Barry into the Speed Force, and whether his episode will also feature the birth of a hero!
CBR News: You haven't directed episodic television since 2007's "Reaper" pilot. How did this "Flash" gig come about?
Kevin Smith: I feel kind of lucky. They don't need anybody. Flash has a stable of directors over there doing a great job on that show. It all came together oddly. Jason Mewes' wife, Jordan, who runs our company, called my TV agent, who is also named Jordan -- girl Jordan called boy Jordan. Jason Mewes turned me on to "The Flash," and I became a massive fan, so she tells boy Jordan, "Kevin loves this show. He has been known to direct in the past, sometimes well, so why don't you ask if they will let him direct an episode of 'The Flash?'" It was like, "Hey, you guys know Kevin Smith?" "Oh, yeah, 'Dogma.'" "He would like to direct an episode. What do you guys think about that?" "Yeah, sure. Why not?"
Girl Jordan called me up and said, "Hey, you're going to hate this, but I called boy Jordan and asked him to ask 'The Flash' people if they would let you direct an episode." I was like, "Oh, man. Why would you do that? That makes me look fucking bad. It's like begging for a fucking job. Don't ever fucking do that to me again. We're about to make 'Moose Jaws.' We have shit going on." She's like, "They said, 'Yes.' Don't worry." I was like, "Oooo… Yes! Good job. Well done. Thatagirl. Holy shit."
So, she got me the job. Jason turned me on to the show, and Jordan pushed forward until, suddenly, I had a directing gig on "The Flash."
What kind of flavor, or Kevin Smith-isms, did you want to bring to "The Flash?"
I went up there as a long-time comic-book fan and as a big fan of the show. I didn't go up there as, "I'm a filmmaker. I've done some shit," because I didn't really want to bring me to the show. There are parts of me everyone knows. Most people go, "Kevin Smith. Wow. Flash is going to say 'cocksmoker' this week." I wanted to make sure I did their show, but what I did want to bring to it was that I'm a crazy-enthusiastic cheerleader of a director. I've been told that many times. People like being on our sets. They are friendly and fun, and we're always having a good time. I knew I could bring that to the show. Imagine the enthusiasm I could bring, and boy, did I. I directed like a Baptist preacher on cocaine. "This is great! We all have the greatest job in the world! What do we do? We make 'The Flash!' Let's go! Action!" The cast were coming to the end of their season at that point, and I think I was a nice breath of fresh air. I heard from a bunch of folks, "Dude, you just reenergized me until the end of the show."
What were your thoughts on the script when you received it?
There are two more episodes to go, and those two episodes are big. My episode is kind of like the calm before, the quiet before two very massive episodes happen. I was glad when I saw the script. Thankfully, they didn't get me to write it. They got Zack Stentz to write it. Zack has done a great job writing comic-book movies, so it made sense. He crushed it. I had great emotional stuff to work with. They have three pillars upon which they built that show: heart, humor and spectacle. This episode was filled with a lot of heart. I love every aspect of that show, but what I 'm most attracted to about "Flash" is the emotional stuff.
The heart of that show is about a boy who lost his mom and spends his life trying to grow up with a tragedy he doesn't understand, that tore his family apart, and he still turned into a pretty good guy. He's a moral, good human being thanks to the second family that raised him. Any time you deal with Nora Allen, like the mom stuff of an episode -- That's like porn, if you're a Flash lover. That's the best stuff. "Nora's back!" It just means you're going to get to feel in a big, bad way in the episode. When I opened my script and midway through, Barry says, "Mom," I was like, "Oh, we got this." If I had opened it up and it had read, "Barry fights Grodd," I would have been like, "We're fucked. I don't know how to fucking shoot action. I don't know how to shoot special effects." We've got special effects in our episode, but it's a manageable level for me. Really, what was important was what I could bring to it, which was character stuff. I'm good at that. There's humor, but not a lot.
After the events of the previous episode, Barry appears to be dead. Obviously, that's not the case, so where do we find him in your episode?
Barry is in the Speed Force. The Speed Force speaks to him as the people who are most important to him. It has a bit of Dickens to it, something like ghosts of his past. It's an episode about taking stock. It's somebody looking back at their entire life. Barry meets his maker, looks back at his entire life and tries to figure out what is next.
It wasn't planned this way. It was just because this episode was open. When boy Jordan called and said, "Hey, Kevin would like to direct," they were like, "Okay, he can take the next one." I wound up with the perfect episode for me to handle. Not too much action, but a good amount where it's still definitely "The Flash." And, there's a lot of heart.
How are Barry's friends and family not only grieving over his apparent demise, but dealing with the ongoing threats in Central City?
They learn pre-credits, thanks to Vibe -- or, thanks to Cisco -- that Barry is alive. We begin right after the ending of the last episode. It's right there in the same room with everybody going, "He's gone." Then there's another crisis that takes everybody out of the room, with the exception of Cisco. Cisco grabs what is left of the costume and vibes that Barry is still alive, but they don't know where he is. Cisco is like, "I've seen Barry. He's still alive." Later on in the episode, it's Harrison Wells who figures out Barry is in the Speed Force. Tom [Cavanagh] has this great moment where he goes, "He's in…" and then he does a dramatic turn, "He's in the Speed Force." You're like, "Holy shit." Viewers don't have long to sit there and go, "Barry's gone."
Candice Patton crushed it at the tail-end of that last episode in terms of being emotional. She has great stuff to do in this episode. Since Zoom has taken Caitlin, there's more for Candice to do. Everyone is splitting Caitlin's roles; Henry is there to do the doctoring stuff that Caitlin usually does, Iris is filling in as Cisco's sidekick, or, vice versa. There's a lot more for her to do, both in and out of the Speed Force.
One of the pictures they've released shows Barry sitting there talking to Iris. Candice plays double duty in terms of who she normally plays and also another version of Iris. I'm a big West/Allen fan. We reference the episode where they kiss. We went back and shot in the same place that happened. In our third act, we have what, to me, as a fan of the show, is one of the most powerful West/Allen moments we've ever seen. There's this wordless sequence between them that is really quite beautiful. It demonstrates the power and the strength of their relationship and how deep it goes.
Jesse and Wally were also caught in the accelerator's blast. What can you say about how it affects them?
Right at the top of the show, there's a sequence involving them. There's a thread running throughout the whole show. One of the B-storylines involves Jesse. For Wally, there's a scene that calls back to Joe discovering Barry's speed. We touch on both of them. I will say this: nobody gets a costume in the episode. That was one of my first questions. I was like, "Is somebody going to get a costume in this episode?" I'm not there for the birth of a new hero, is what I'm saying.
http://www.comicbookresources.com/artic ... sh-episode
Candice Patton dice que las audiencias son ‘reticentes’ a ver personajes femeninos evolucionar
Por John Crook 10 Mayo, 2016
Candice Patton has always been a fan of the superhero genre, but that's not what drew her to The CW's Tuesday hit "The Flash."
"For me it's always been more about the story and the heart and the family behind the superhero, rather than the theatrics and the special effects and the CGI," Patton tells Zap2it. "That stuff is the icing on the cake, but if you don't have a great story as the base, you don't have anything to stand on. I think our show has accomplished that in a way that crosses over viewers of all races, creeds and ages. That's such an awesome thing."
Her character, plucky journalist Iris West, has become a fan favorite, but some viewers were put off during Season 1 as Iris inadvertently caused problems for hero Barry Allen (Grant Gustin) while she struggled to find herself.
"I think some audiences today are reticent to actually watch characters, especially women, have an arc," Patton says. "They want their women to have it all together the moment they see them and keep it together all the way through, which is just not true of human nature. What drew me to Iris is that we met her as a young woman who is trying to find herself in her career and her relationships. We have to allow characters to evolve, to have these arcs, because without them, they're not characters, they're just archetypes."
Patton says she caught the acting bug as a child, watching vintage "I Love Lucy" reruns and yearning to do what Lucille Ball did. She began doing plays in high school, then studied theater in college, where she was spotted by a CBS talent scout and flown out to California for a short gig on "The Young and the Restless" before returning to finish her studies.
After graduation, she went back to Los Angeles, where she lived frugally while throwing herself wholeheartedly into acting.
"At first, I didn't get a lot of acting jobs, but I'd get a commercial that would be enough to sustain me," she explains. "I could survive on one or two of those a year. Things weren't easy, but I made a career decision not to spend time on a job that I hated."
http://zap2it.com/2016/05/the-flashs-ca ... rs-evolve/
Por John Crook 10 Mayo, 2016
Candice Patton has always been a fan of the superhero genre, but that's not what drew her to The CW's Tuesday hit "The Flash."
"For me it's always been more about the story and the heart and the family behind the superhero, rather than the theatrics and the special effects and the CGI," Patton tells Zap2it. "That stuff is the icing on the cake, but if you don't have a great story as the base, you don't have anything to stand on. I think our show has accomplished that in a way that crosses over viewers of all races, creeds and ages. That's such an awesome thing."
Her character, plucky journalist Iris West, has become a fan favorite, but some viewers were put off during Season 1 as Iris inadvertently caused problems for hero Barry Allen (Grant Gustin) while she struggled to find herself.
"I think some audiences today are reticent to actually watch characters, especially women, have an arc," Patton says. "They want their women to have it all together the moment they see them and keep it together all the way through, which is just not true of human nature. What drew me to Iris is that we met her as a young woman who is trying to find herself in her career and her relationships. We have to allow characters to evolve, to have these arcs, because without them, they're not characters, they're just archetypes."
Patton says she caught the acting bug as a child, watching vintage "I Love Lucy" reruns and yearning to do what Lucille Ball did. She began doing plays in high school, then studied theater in college, where she was spotted by a CBS talent scout and flown out to California for a short gig on "The Young and the Restless" before returning to finish her studies.
After graduation, she went back to Los Angeles, where she lived frugally while throwing herself wholeheartedly into acting.
"At first, I didn't get a lot of acting jobs, but I'd get a commercial that would be enough to sustain me," she explains. "I could survive on one or two of those a year. Things weren't easy, but I made a career decision not to spend time on a job that I hated."
http://zap2it.com/2016/05/the-flashs-ca ... rs-evolve/
El director invitado de "The Flash" Kevin Smith revela lo qie aprendió en el set, y su aspiración a ‘Arrow’
Por Laura Prudom 10 Mayo, 2016 | 10:12AM PT
If you’re familiar with Kevin Smith’s work, you’ll know that the indie auteur is a lifelong comic book fan, with his obsessions clearly signposted in early films like “Clerks,” “Mallrats” and “Chasing Amy” all the way through to his current AMC unscripted series “Comic Book Men,” set at the comic shop Smith owns in New Jersey.
Smith has also written fan-favorite runs in comics including “Green Arrow,” “Batman” and “Daredevil,” so it was perhaps only a matter of time before the director stepped behind the camera on one of his favorite shows, The CW’s “The Flash,” which is currently racing towards its Season 2 finale. Last week’s episode ended with titular hero Barry Allen (Grant Gustin) disappearing, seemingly obliterated from existence (although fans of the character probably have a pretty good idea where he actually ended up) — which is certainly an interesting place to pick up from.
Smith has some experience directing for TV — he helmed the pilot episode of shortlived CW comedy “Reaper” back in 2007 — but stepping into an established property is markedly different from directing the first episode of a brand new series, and Smith was cognizant of those challenges when he visited “The Flash.”
“The show has its own tone and you’re coming into Season 2, so to do anything but their show is disruptive, and as a fan, I had no interest in doing my show – I can do that in my world all the time,” Smith tells Variety. “I tried to do as close as I could to my favorite episode, which is the Season 1 finale. Good news is, when I was handed Zack Stentz’s script, holy crap, it plays like a spiritual sequel to that episode; it was a gift.”
For reasons that will become clear in the episode, the hour — titled “The Runaway Dinosaur” — also features an appearance from Barry’s dearly departed mother, Nora (Michelle Harrison), which Smith says was a particular thrill for him to tackle, from a fan perspective. “When I got there and I cracked open the script and halfway through he says ‘mom,’ you’re like ‘holy s—t, man,’ because Nora Allen, for those of us who are Flash fans… scenes with his mom are like porn for a Flash fan, it’s the best stuff in the show. Heart of the show, soul of the show, meat of the show is about a boy who lost his mom; he’s doing all this because that happened … So we got to do an episode that dovetails really nicely from that season finale – you put them side by side like bookends. So suddenly, my key aim was made just that bit easier by the fact that I get to play with Nora Allen.”
The biggest source of hesitation for Smith was the special effects work, the director admits. “They have three pillars on which they’ve built that show: heart, humor and spectacle, that’s what they say – every episode’s got to have that. With those pillars, you can raise and lower them — sometimes you can have more of one or the other — but you’ve got to have all three in there. The heart and humor I knew I could handle going into it, but it was the spectacle I was always most nervous about. And the really nice thing is, I got to watch a few episodes – Armen [Kevorkian, the show’s visual effects supervisor], who directed the episode right before mine, he was working on set, so I got to go to their shoot and shoot a tail scene – the scene that’s our button on our show … we shot that on their set while they were still up and running, five days before I started my show, so I got to ease into the job a week in advance,” he recalls.
“And then they gave me the ‘Trajectory’ episode which had been cut, but none of the special effects were done, so I could actually see behind the scenes. I’m used to watching the show and watching flawless special effects as done by Armen and his team, so I got to actually see ‘oh, it’s green screen!’ and really demystify the process. I’m such an idiot – I’ve been doing this job for 22 years, but I don’t stop to go, ‘yeah, the same way they do special effects, probably how they’re gonna do it there,’ so it was nice to be able to see the strings a little bit before I went and had to make some of those strings. The good news is there aren’t too many strings, so to speak, in my episode; we don’t spend a lot of time in the effects world or on green screen with this episode, although the whole episode feels like, because of the setting, one big special effect.”
Smith describes “The Runaway Dinosaur” as “my favorite thing I’ve ever directed,” in part because of the collaboration between himself and the show’s cast and crew up in Vancouver. “I didn’t go in and be like ‘let me show you how Kevin Smith does things’ – I was like, ‘please show me how you do things every week,’ and in doing so, I became a better filmmaker,” he says. “In the course of eight days on ‘Flash,’ I know I became a better director … and I think a lot of that had to do with the fact that I did not get to write it, I did not edit it. All I had to do was focus on just directing.”
It should come as no surprise, then, that Smith has already signed on to direct another episode of “The Flash” for Season 3, which is tentatively scheduled to film in August. “By day 3 on that show, I was like, ‘I’d do this every damn day if I could.’ Lots of the folks that I was working with were like, ‘you have to come back.’ So when we were done with the episode, most of the crew on the production side, the Berlanti folks, had seen all the dailies and they liked them and heard from the cast and crew that they liked me; I was very enthusiastic. So they started talking early on. Greg [Berlanti] sent me an email – ‘any show you want to come play in, you’re welcome here; consider this a second home,'” Smith recalls. “The one thing I asked was ‘just make sure it’s the same crew,’ because they alternate between two crews because they shoot so many episodes, and the folks that I bonded with, the folks that I worked with, they made that show what it is. It’s a great episode and I give them all the credit. So if I am going to go back, I just want to make sure I’m with them again so they cover my ass and make me look good again.”
Despite a career spent directing, writing and editing his own work, Smith says he’d prefer to stick to directing on “The Flash,” eschewing the possibility of penning an installment of the show. “I prefer not writing the episode because what we were able to do with me not writing it was, at least for me, substantial and wonderful … just as a directing exercise, I was so happy with it,” he says. “So I wouldn’t want to write on ‘Flash.’ I would, though, like to write on ‘Arrow.'”
Smith is well-versed in the world of Oliver Queen, having written two critically acclaimed runs on the comic in the early aughts — “Quiver” and “The Sounds of Violence,” the latter of which introduced an iconic villain that he’s itching to adapt for “The Flash’s” sister show. “I would love to jump in for a one or two episode arc just to bring that Onomatopoeia character to life. That would be so badass – I created this character in the comics and then to do a live-action version of it that fit into their universe, fit into the run of their show? That would be exciting to me,” Smith tells Variety. “That’s the one I can get my head around writing, but ‘Flash,’ whenever they bring me back, I think I prefer somebody else doing it. I heard rumor that when I go back, I think Zack [Stentz] might be writing my script again, which would be amazing – we’d be keeping the home team together, so that’d be cool.”
Smith describes this week’s installment as “the calm before the storm” of the final two episodes of Season 2. “While you’re shooting your episodes, they do breakdowns of the next episodes that they give the crew ahead of time so they know what they’re thinking about, so I saw what was happening in the episode after mine and I got jealous, because the tail end of the episode after mine, that’s like jaw-droppingly huge in the world of ‘Flash,’ it’s massive,” the director teases. “That leads into the season finale. I remember when the breakdown came through, my crew, which was episode 21, they were gonna be on that show, episode 23, and Lexi [La Roche], who’s the script supervisor – I said, ‘how is it, what does 23 look like?’ And she says, ‘it looks like we’re making a movie, it’s massive.’ So our episode is the calm before the storm that reenergizes Barry and sends him out for the last two. This is the Barry meets his maker episode, more or less; the hero reborn, the hero discovered.”
http://variety.com/2016/tv/news/the-fla ... 201770257/
Por Laura Prudom 10 Mayo, 2016 | 10:12AM PT
If you’re familiar with Kevin Smith’s work, you’ll know that the indie auteur is a lifelong comic book fan, with his obsessions clearly signposted in early films like “Clerks,” “Mallrats” and “Chasing Amy” all the way through to his current AMC unscripted series “Comic Book Men,” set at the comic shop Smith owns in New Jersey.
Smith has also written fan-favorite runs in comics including “Green Arrow,” “Batman” and “Daredevil,” so it was perhaps only a matter of time before the director stepped behind the camera on one of his favorite shows, The CW’s “The Flash,” which is currently racing towards its Season 2 finale. Last week’s episode ended with titular hero Barry Allen (Grant Gustin) disappearing, seemingly obliterated from existence (although fans of the character probably have a pretty good idea where he actually ended up) — which is certainly an interesting place to pick up from.
Smith has some experience directing for TV — he helmed the pilot episode of shortlived CW comedy “Reaper” back in 2007 — but stepping into an established property is markedly different from directing the first episode of a brand new series, and Smith was cognizant of those challenges when he visited “The Flash.”
“The show has its own tone and you’re coming into Season 2, so to do anything but their show is disruptive, and as a fan, I had no interest in doing my show – I can do that in my world all the time,” Smith tells Variety. “I tried to do as close as I could to my favorite episode, which is the Season 1 finale. Good news is, when I was handed Zack Stentz’s script, holy crap, it plays like a spiritual sequel to that episode; it was a gift.”
For reasons that will become clear in the episode, the hour — titled “The Runaway Dinosaur” — also features an appearance from Barry’s dearly departed mother, Nora (Michelle Harrison), which Smith says was a particular thrill for him to tackle, from a fan perspective. “When I got there and I cracked open the script and halfway through he says ‘mom,’ you’re like ‘holy s—t, man,’ because Nora Allen, for those of us who are Flash fans… scenes with his mom are like porn for a Flash fan, it’s the best stuff in the show. Heart of the show, soul of the show, meat of the show is about a boy who lost his mom; he’s doing all this because that happened … So we got to do an episode that dovetails really nicely from that season finale – you put them side by side like bookends. So suddenly, my key aim was made just that bit easier by the fact that I get to play with Nora Allen.”
The biggest source of hesitation for Smith was the special effects work, the director admits. “They have three pillars on which they’ve built that show: heart, humor and spectacle, that’s what they say – every episode’s got to have that. With those pillars, you can raise and lower them — sometimes you can have more of one or the other — but you’ve got to have all three in there. The heart and humor I knew I could handle going into it, but it was the spectacle I was always most nervous about. And the really nice thing is, I got to watch a few episodes – Armen [Kevorkian, the show’s visual effects supervisor], who directed the episode right before mine, he was working on set, so I got to go to their shoot and shoot a tail scene – the scene that’s our button on our show … we shot that on their set while they were still up and running, five days before I started my show, so I got to ease into the job a week in advance,” he recalls.
“And then they gave me the ‘Trajectory’ episode which had been cut, but none of the special effects were done, so I could actually see behind the scenes. I’m used to watching the show and watching flawless special effects as done by Armen and his team, so I got to actually see ‘oh, it’s green screen!’ and really demystify the process. I’m such an idiot – I’ve been doing this job for 22 years, but I don’t stop to go, ‘yeah, the same way they do special effects, probably how they’re gonna do it there,’ so it was nice to be able to see the strings a little bit before I went and had to make some of those strings. The good news is there aren’t too many strings, so to speak, in my episode; we don’t spend a lot of time in the effects world or on green screen with this episode, although the whole episode feels like, because of the setting, one big special effect.”
Smith describes “The Runaway Dinosaur” as “my favorite thing I’ve ever directed,” in part because of the collaboration between himself and the show’s cast and crew up in Vancouver. “I didn’t go in and be like ‘let me show you how Kevin Smith does things’ – I was like, ‘please show me how you do things every week,’ and in doing so, I became a better filmmaker,” he says. “In the course of eight days on ‘Flash,’ I know I became a better director … and I think a lot of that had to do with the fact that I did not get to write it, I did not edit it. All I had to do was focus on just directing.”
It should come as no surprise, then, that Smith has already signed on to direct another episode of “The Flash” for Season 3, which is tentatively scheduled to film in August. “By day 3 on that show, I was like, ‘I’d do this every damn day if I could.’ Lots of the folks that I was working with were like, ‘you have to come back.’ So when we were done with the episode, most of the crew on the production side, the Berlanti folks, had seen all the dailies and they liked them and heard from the cast and crew that they liked me; I was very enthusiastic. So they started talking early on. Greg [Berlanti] sent me an email – ‘any show you want to come play in, you’re welcome here; consider this a second home,'” Smith recalls. “The one thing I asked was ‘just make sure it’s the same crew,’ because they alternate between two crews because they shoot so many episodes, and the folks that I bonded with, the folks that I worked with, they made that show what it is. It’s a great episode and I give them all the credit. So if I am going to go back, I just want to make sure I’m with them again so they cover my ass and make me look good again.”
Despite a career spent directing, writing and editing his own work, Smith says he’d prefer to stick to directing on “The Flash,” eschewing the possibility of penning an installment of the show. “I prefer not writing the episode because what we were able to do with me not writing it was, at least for me, substantial and wonderful … just as a directing exercise, I was so happy with it,” he says. “So I wouldn’t want to write on ‘Flash.’ I would, though, like to write on ‘Arrow.'”
Smith is well-versed in the world of Oliver Queen, having written two critically acclaimed runs on the comic in the early aughts — “Quiver” and “The Sounds of Violence,” the latter of which introduced an iconic villain that he’s itching to adapt for “The Flash’s” sister show. “I would love to jump in for a one or two episode arc just to bring that Onomatopoeia character to life. That would be so badass – I created this character in the comics and then to do a live-action version of it that fit into their universe, fit into the run of their show? That would be exciting to me,” Smith tells Variety. “That’s the one I can get my head around writing, but ‘Flash,’ whenever they bring me back, I think I prefer somebody else doing it. I heard rumor that when I go back, I think Zack [Stentz] might be writing my script again, which would be amazing – we’d be keeping the home team together, so that’d be cool.”
Smith describes this week’s installment as “the calm before the storm” of the final two episodes of Season 2. “While you’re shooting your episodes, they do breakdowns of the next episodes that they give the crew ahead of time so they know what they’re thinking about, so I saw what was happening in the episode after mine and I got jealous, because the tail end of the episode after mine, that’s like jaw-droppingly huge in the world of ‘Flash,’ it’s massive,” the director teases. “That leads into the season finale. I remember when the breakdown came through, my crew, which was episode 21, they were gonna be on that show, episode 23, and Lexi [La Roche], who’s the script supervisor – I said, ‘how is it, what does 23 look like?’ And she says, ‘it looks like we’re making a movie, it’s massive.’ So our episode is the calm before the storm that reenergizes Barry and sends him out for the last two. This is the Barry meets his maker episode, more or less; the hero reborn, the hero discovered.”
http://variety.com/2016/tv/news/the-fla ... 201770257/
Kevin Smith adelanta su episodio de "The Flash": 'Van a haber lágrimas'
Por Damian Holbrook 10 Mayo, 2016 2:30 pm
When it comes to geek culture, there are few more versed and invested than filmmaker Kevin Smith (Clerks, Dogma). A lifelong comic-book fan, Smith has written for both DC Comics and Marvel, and owns his own shop in Red Bank, New Jersey, that is the subject of his AMC series Comic Book Men. So it makes perfect sense that Smith was invited to direct an episode of The Flash. Here, he opens up about the education he got from Grant Gustin and company, as well as why he is so damn excited about what fans will see when the end product airs Tuesday.
It is no secret that you are a massive a comic-book fan, so this is one of those “Why did it take so long?” kind of things.
[Laughs] I'm with you on that! But I know why it took so long. I would never think about doing episodic TV prior to this, because generally when you come into a series that's up and running, there is a tone already set. And for me, well, I can't do that. I can only do me, so to speak. So when I directed a pilot for Reaper for The CW a few years ago…
That was the last thing you did for TV, right?
That was the last thing I did. But that was a pilot, so you establish the tone. Moving into a show that's up and running, you're gonna stick out. And I'm a big fan of The Flash, so I really didn't want to stick out. I really didn't want it to be like "That's clearly the episode that Kevin Smith directed!" I wanted to be as seamless as the other ones and fit into the larger story as the whole. So I went in less as “Hey, I've been making films for 22 years” and more like a guy who's read comics my whole life. I've watched this show for the last two seasons, so I directed more like a fan. I directed that show like I was a Baptist preacher on coke, man! [Laughs]
How was it?
You know, it was very JFK: Ask not what The Flash can do for you, but what you can do for The Flash. I was trying to figure out how they do this on a regular basis. They get 50 pages a week to shoot in eight days, that's it. When you're shooting a feature film, it's usually, say, a 100-page script [and] they usually give you a month, or two months. So for them to pull off what they do, every week, in that short amount a period of time, I just wanted to know how it was done! And I got to learn that. As a filmmaker, I learned more in the eight days of directing The Flash than I have in my previous 22 years of making my own films.
Wow! What episode did they let you have this fun with? What’s the story?
The episode's called "The Runaway Dinosaur," and what happens in the episode prior to mine last week, Barry tries to get his powers back, and they replicate the particle explosion that gave him its powers, but it apparently kills him. In our episode, we find out it did. It flat-out put him into the Speed Force. He's gone. So we have a whole episode where essentially Barry meets his maker. It's certainly not "Barry's in Heaven!" but it's Barry in the Speed Force, which is kind of like their version of heaven to some degree. It's a very introspective episode. I think I was good for directing it because I'm a 45-year-old man, so half of my life is more than over—I'm always introspective and stuff! This is an episode about somebody who's lost their life, who’s looking back but is also struggling to get back. And you don't know if he can get back.
So lots of emotion?
It's powerful stuff. It allows Barry to interact with his Maker in the form of people who are important to him. The show is built on three pillars: Heart, humor and spectacle. There's a lot of heart in this episode. There's definitely spectacle, and there's humor, but oh my god, with this episode, you've gotta bring two boxes of Kleenex. There's gonna be crying.
And since you are such a comics fan, to get to do an episode that's so heavily set in the Speed Force…
It was perfect, dude! I didn't know what I was gonna get. You know, the whole thing came together very accidental. I didn't pursue it. Jason Mewes' wife, Jordan, runs our company, and she called up my agent and said, "He keeps talking about The Flash. He loves it to death. Why don't you call and see if they'll let him direct an episode?" So my agent called up and said like, "Hey, you know Kevin Smith?" They're like yeah, Dogma. "He likes Flash, would you ever let him do an episode?" And they said yeah, sure. So suddenly, boom, it came together and whatnot. That's exactly how I got the job. But I didn't know what episode I was getting, and they don't send you the script until you get up there to shoot. So I went up to Vancouver for pre-production and when I got there, they handed me an episode of the script and when I opened it… Dude, it was like being at a poker table and being dealt a Royal Flush.
http://www.tvinsider.com/article/88714/ ... be-crying/
Por Damian Holbrook 10 Mayo, 2016 2:30 pm
When it comes to geek culture, there are few more versed and invested than filmmaker Kevin Smith (Clerks, Dogma). A lifelong comic-book fan, Smith has written for both DC Comics and Marvel, and owns his own shop in Red Bank, New Jersey, that is the subject of his AMC series Comic Book Men. So it makes perfect sense that Smith was invited to direct an episode of The Flash. Here, he opens up about the education he got from Grant Gustin and company, as well as why he is so damn excited about what fans will see when the end product airs Tuesday.
It is no secret that you are a massive a comic-book fan, so this is one of those “Why did it take so long?” kind of things.
[Laughs] I'm with you on that! But I know why it took so long. I would never think about doing episodic TV prior to this, because generally when you come into a series that's up and running, there is a tone already set. And for me, well, I can't do that. I can only do me, so to speak. So when I directed a pilot for Reaper for The CW a few years ago…
That was the last thing you did for TV, right?
That was the last thing I did. But that was a pilot, so you establish the tone. Moving into a show that's up and running, you're gonna stick out. And I'm a big fan of The Flash, so I really didn't want to stick out. I really didn't want it to be like "That's clearly the episode that Kevin Smith directed!" I wanted to be as seamless as the other ones and fit into the larger story as the whole. So I went in less as “Hey, I've been making films for 22 years” and more like a guy who's read comics my whole life. I've watched this show for the last two seasons, so I directed more like a fan. I directed that show like I was a Baptist preacher on coke, man! [Laughs]
How was it?
You know, it was very JFK: Ask not what The Flash can do for you, but what you can do for The Flash. I was trying to figure out how they do this on a regular basis. They get 50 pages a week to shoot in eight days, that's it. When you're shooting a feature film, it's usually, say, a 100-page script [and] they usually give you a month, or two months. So for them to pull off what they do, every week, in that short amount a period of time, I just wanted to know how it was done! And I got to learn that. As a filmmaker, I learned more in the eight days of directing The Flash than I have in my previous 22 years of making my own films.
Wow! What episode did they let you have this fun with? What’s the story?
The episode's called "The Runaway Dinosaur," and what happens in the episode prior to mine last week, Barry tries to get his powers back, and they replicate the particle explosion that gave him its powers, but it apparently kills him. In our episode, we find out it did. It flat-out put him into the Speed Force. He's gone. So we have a whole episode where essentially Barry meets his maker. It's certainly not "Barry's in Heaven!" but it's Barry in the Speed Force, which is kind of like their version of heaven to some degree. It's a very introspective episode. I think I was good for directing it because I'm a 45-year-old man, so half of my life is more than over—I'm always introspective and stuff! This is an episode about somebody who's lost their life, who’s looking back but is also struggling to get back. And you don't know if he can get back.
So lots of emotion?
It's powerful stuff. It allows Barry to interact with his Maker in the form of people who are important to him. The show is built on three pillars: Heart, humor and spectacle. There's a lot of heart in this episode. There's definitely spectacle, and there's humor, but oh my god, with this episode, you've gotta bring two boxes of Kleenex. There's gonna be crying.
And since you are such a comics fan, to get to do an episode that's so heavily set in the Speed Force…
It was perfect, dude! I didn't know what I was gonna get. You know, the whole thing came together very accidental. I didn't pursue it. Jason Mewes' wife, Jordan, runs our company, and she called up my agent and said, "He keeps talking about The Flash. He loves it to death. Why don't you call and see if they'll let him direct an episode?" So my agent called up and said like, "Hey, you know Kevin Smith?" They're like yeah, Dogma. "He likes Flash, would you ever let him do an episode?" And they said yeah, sure. So suddenly, boom, it came together and whatnot. That's exactly how I got the job. But I didn't know what episode I was getting, and they don't send you the script until you get up there to shoot. So I went up to Vancouver for pre-production and when I got there, they handed me an episode of the script and when I opened it… Dude, it was like being at a poker table and being dealt a Royal Flush.
http://www.tvinsider.com/article/88714/ ... be-crying/
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Kevin Smith & Teddy talks about The Flash Season 2 Finale (FAT MAN ON BATMAN #046):
- Zack Stentz on writing for "The Flash" (FAT MAN ON BATMAN #047):
- Zack Stentz on writing for "The Flash" (FAT MAN ON BATMAN #047):
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Nuevo póster promocional del 2.21 "The Runaway Dinosaur":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- THE FLASH | 2.22 "Invincible" Promo:
- THE FLASH | 2.22 "Invincible" Extended Promo:
- THE FLASH | 2.22 "Invincible" 1-Minute Promo:
https://twitter.com/CW_TheFlash/status/ ... 2851878913
- THE FLASH | 2.22 "Invincible" Clip #1:
https://www.youtube.com/watch?v=J005_CZjyQM
https://www.accesshollywood.com/videos/ ... rry-allen/
- THE FLASH | 2.22 "Invincible" Clip #2:
https://www.youtube.com/watch?v=yQ59iqGBbws
http://bcove.me/8eqlnxpb
- THE FLASH | 2.22 "Invincible" Clip #3:
https://www.youtube.com/watch?v=7bGxL6gV_gU
- THE FLASH | 2.22 "Invincible" Extended Promo:
- THE FLASH | 2.22 "Invincible" 1-Minute Promo:
- THE FLASH | 2.22 "Invincible" Clip #1:
https://www.youtube.com/watch?v=J005_CZjyQM
https://www.accesshollywood.com/videos/ ... rry-allen/
- THE FLASH | 2.22 "Invincible" Clip #2:
https://www.youtube.com/watch?v=yQ59iqGBbws
http://bcove.me/8eqlnxpb
- THE FLASH | 2.22 "Invincible" Clip #3:
https://www.youtube.com/watch?v=7bGxL6gV_gU
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Stills del 2.22 "Invincible":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- THE FLASH 2.22 "Invincible" Promo Poster:
- Nuevas imágenes promocionales de Grant Gustin como 'The Flash':
- Nuevas imágenes promocionales de Grant Gustin como 'The Flash':
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Tom Cavanagh talks ‘The Flash’ season 2 finale on TODAY (17-05-16):
http://www.today.com/video/tom-cavanagh ... 7189571782
http://www.today.com/video/tom-cavanagh ... 7189571782
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- THE FLASH | 2.23 "The Race of His Life" Promo (season finale):
- THE FLASH | 2.23 "The Race of His Life" Extended Promo (season finale):
- THE FLASH | 2.23 "The Race of His Life" 1-Minute Promo (season finale):
- THE FLASH | 2.23 "The Race of His Life" Clip #1 (season finale):
https://www.youtube.com/watch?v=dAic3xp8mgc
- THE FLASH | 2.23 "The Race of His Life" Clip #2 (season finale):
https://www.youtube.com/watch?v=hHABVY9De6w
http://www.ign.com/videos/2016/05/24/th ... nges-barry
- THE FLASH | 2.23 "The Race of His Life" Extended Promo (season finale):
- THE FLASH | 2.23 "The Race of His Life" 1-Minute Promo (season finale):
- THE FLASH | 2.23 "The Race of His Life" Clip #1 (season finale):
https://www.youtube.com/watch?v=dAic3xp8mgc
- THE FLASH | 2.23 "The Race of His Life" Clip #2 (season finale):
https://www.youtube.com/watch?v=hHABVY9De6w
http://www.ign.com/videos/2016/05/24/th ... nges-barry
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- Stills del 2.23 "The race of his life":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- La CW revela su calendario de otoño 2016-2017, sinopsis, declaraciones sobre "Supergirl" y anuncio de Crossover:
La CW ha anunciado su calendario de otoño y parece que "Supergirl", aunque ha cambiado de cadena, seguirá manteniendo su horario habitual de los lunes que ya tuviera en la CBS. El traslado no plantea cambios en cuanto al aspecto creativo de las series de la CW/DC. No obstante, parece ser que sigue en el aire las preguntas relacionadas a la disponibilidad de Calista Flockhart tras el traslado a Vancouver. Pedowitz dice que continúan las conversaciones al respecto y que está encantado por escuchar que la estrella quiere regresar, tanto si es como personaje regular como recurrente. “Estamos felices por tenerla en cualquier capacidad que funcione”, afirma.
También se ha anunciado que "Legends of Tomorrow" también mantendrá su horario habitual de los Jueves, pero esta vez pasará a emitirse en otoño, en lugar de hacerlo en la midseason como pasara la temporada anterior. "The Flash" y "Arrow"mantienen sus horarios habituales de los Martes y miércoles, respectivamente, mientras que "iZombie" se estrenará en la midseason junto a la otra nueva serie de Greg Berlanti basada en cómics, "Riverdale".
Durante las CW Upfronts que se están celebrando hoy en N.Y., el presidente de la cadena Mark Pedowitz reconoció que al incorporar "Supergirl" a la cadena "la serie está donde debería haber estado en un primer lugar", que cree que la serie será una de sus tres series más vistas (aunque piensa que tendrá menores rátings que en la CBS) y confirma que se tienen planes para hacer un crossover masivo este año entre las 4 series de DC, e incluso la posibilidad de que aparezca de nuevo en ellos un personaje que ya apareciera en "Arrow" este año y que cuenta con su serie animada (y que regresa el próximo octubre) en la CWSeed como es "Vixen". “Tan sólo imagina cómo se van a ver nuestros crossovers de superhéroes en Diciembre. Será el mayor que hayamos hecho nunca”, dice Pedowitz.
De este modo el calendario de otoño de la CW quedaría de la siguiente manera:
Junto al calendario, la CW también ha emitido las sinopsis de la nueva temporada:
http://www.ign.com/articles/2016/05/19/ ... -midseason
http://www.hollywoodreporter.com/live-f ... ers-895680
También se ha anunciado que "Legends of Tomorrow" también mantendrá su horario habitual de los Jueves, pero esta vez pasará a emitirse en otoño, en lugar de hacerlo en la midseason como pasara la temporada anterior. "The Flash" y "Arrow"mantienen sus horarios habituales de los Martes y miércoles, respectivamente, mientras que "iZombie" se estrenará en la midseason junto a la otra nueva serie de Greg Berlanti basada en cómics, "Riverdale".
Durante las CW Upfronts que se están celebrando hoy en N.Y., el presidente de la cadena Mark Pedowitz reconoció que al incorporar "Supergirl" a la cadena "la serie está donde debería haber estado en un primer lugar", que cree que la serie será una de sus tres series más vistas (aunque piensa que tendrá menores rátings que en la CBS) y confirma que se tienen planes para hacer un crossover masivo este año entre las 4 series de DC, e incluso la posibilidad de que aparezca de nuevo en ellos un personaje que ya apareciera en "Arrow" este año y que cuenta con su serie animada (y que regresa el próximo octubre) en la CWSeed como es "Vixen". “Tan sólo imagina cómo se van a ver nuestros crossovers de superhéroes en Diciembre. Será el mayor que hayamos hecho nunca”, dice Pedowitz.
De este modo el calendario de otoño de la CW quedaría de la siguiente manera:
LUNES
8:00-9:00 PM SUPERGIRL(New Network)
9:00-10:00 PM JANE THE VIRGIN
MARTES
8:00-9:00 PM THE FLASH
9:00-10:00 PM NO TOMORROW (New Series)
MIÉRCOLES
8:00-9:00 PM ARROW
9:00-10:00 PM FREQUENCY(New Series)
JUEVES
8:00-9:00 PM DC’S LEGENDS OF TOMORROW
9:00-10:00 PM SUPERNATURAL (New Night)
VIERNES
8:00-9:00 PM THE VAMPIRE DIARIES
9:00-10:00 PM CRAZY EX-GIRLFRIEND (New Night)
Junto al calendario, la CW también ha emitido las sinopsis de la nueva temporada:
LUNES 8:00-9:00P.M. “SUPERGIRL”
SUPERGIRL es un drama de acción-aventura basado en el personaje de DC Kara Zor-El, la prima de Superman (Kal-El) quien, tras 12 años de mantener sus poderes en secreto en la Tierra,decide finalmente abrazar sus habilidades superhumanas y ser la heroína que siempre había estado destinada a ser. Una Kara con 12 años escapó del condenado planeta Krypton con la ayuda de sus padres al mismo tiempo que el infante Kal-El. Protegida y criada por su familia adoptiva en la Tierra, los Danvers, Kara crece a ka sombra de su hermana adoptiva, Alex, y aprende a esconder los fenomenales poderes que comparte con su famoso primo para mantener su identidad en secreto. Años después, con 24 años, Kara vive en National City asistiendo a la mogul de los medios y feroz supervisora Cat Grant. Ella trabaja junto a su amigo y técnico informático Winn Schott y el famoso fotógrafo James Olsen, a quien Grant acaba de contratar del Daily Planet para que sea su nuevo director artístico. Sin embargo, los días de Kara manteniendo sus talentos en secreto se acaban cuando Hank Henshaw, jefe de una agencia super-secreta donde su hermana también trabaja, la enlista para que les ayude a proteger a los ciudadanos de National City de amenazas siniestras. Aunque Kara necesitará encontrar una manera de manejar su nuevo poder con sus muy humanas relaciones, su corazón se dispara cuando se echa al cielo como Supergirl para luchar contra el crimen. Basada en los personajes creados por Jerry Siegel y Joe Shuster, SUPERGIRL es de Berlanti Productions en asociación con la Warner Bros. Television, con los productores ejecutivos Greg Berlanti (“The Flash,” “Arrow”), Ali Adler (“The New Normal,” “Glee”), Andrew Kreisberg (“The Flash,” “Arrow”) y Sarah Schechter (“Arrow,” “The Flash”).
MARTES 8:00-9:00 P.M. “THE FLASH”
Barry Allen (Grant Gustin) vivía una vida normal como el perpetuamente lento C.S.I. en el Departamento de Policía de Central City. La vida de Barry cambia para siempre cuendo el acelerador de partículas de S.T.A.R. Labs explota, creando una tormenta de materia negra que alcanza a Barry, dotándole de súper-velocidad y haciéndole el hombre vivo más rápido — The Flash. Pero Barry no fue la única persona a la que se le dieron extraordinarias habilidades esa noche; la matyeria oscura también creó meta-humanos, muchos de los cuales han sembrado el caos en la ciudad. Nuevas amenazas también llegaron de la tierra paralela conocida como Tierra-2, bajo la dirección de un diabólico velocista llamado Zoom (Teddy Sears). Con la ayuda de su padre adoptivo, Joe West (Jesse L. Martin), su amiga de toda la vida e interés amoroso Iris West (Candice Patton), y sus amigos científicos de S.T.A.R Labs, Caitlin Snow (Danielle Panabaker) y Cisco Ramon (CarlosValdes), así como del Harrison Wells (Tom Cavanaugh) de Tierra-2, Barry continúa protegiendo a la gente de Central City de estas poderosas amenazas. Basada en los personajes de DC, THE FLASH es de Bonanza Productions Inc. en asociación con Berlanti Productions y la Warner Bros. Television, con los productores ejecutivos Greg Berlanti (“Arrow,” “Supergirl”), Andrew Kreisberg (“Arrow,” “The Flash”), Sarah Schechter (“Arrow,” “DC’s Legends of Tomorrow”) y Aaron y Todd Helbing (“BlackSails”).
MIÉRCOLES 8:00-9:00 P.M. “ARROW”
Tras un violento naufragio, el millonario playboy Oliver Queen (Stephen Amell) se perdió y fue dado por muerto durante cinco años antes de que fuera descubierto vivo en una renota isla del Mar de China del Norte. Regresó a casa a Star City, decidido a arreglar los errores cometidos por su familia y luchar contra la injusticia. Como Green Arrow, protege a su ciudad con la ayuda de un antiguo soldado John Diggle (David Ramsey), la experta en ciencias de computación Felicity Smoak (Emily Bett Rickards), su hermana vigilante entrenada Thea Queen (Willa Holland), el antiguo policía Quentin Lance (Paul Blackthorne), y el brillante inventor Curtis Holt (Echo Kellum). Pero siniestros jugadores con una conexión con el pasado de Oliver empujarán al equipo a su punto de quiebre, amenazando todo por lo que trabajó Oliver y su legado como Green Arrow. Basada en los personajes de DC, ARROW es de Bonanza Productions Inc. en asociación con Berlanti Productions y la WarnerBros. Television, con los productores ejecutivos Greg Berlanti (“The Flash,” “Supergirl”), Marc Guggenheim (“DC’s Legends of Tomorrow,” “Eli Stone”) Andrew Kreisberg (“The Flash,” “Eli Stone,” “Warehouse 13”), Wendy Mericle (“DesperateHousewives”) y Sarah Schechter (“The Flash,” “DC’s Legends of Tomorrow”).
JUEVES 8:00-9:00 P.M. “DC’S LEGENDS OF TOMORROW”
Cuando los héroes no son suficientes... el mundo necesita leyendas. El solitario viajero del tiempo Rip Hunter (Arthur Darvill) reunió un disparatado grupo de héroes y villanosa – que incluyen a Firestorm (Victor Garber y Franz Drameh), Atom (Brandon Routh), White Canary (Caity Lotz), Hawkgirl (Ciarra Reneé), Captain Cold (WentworthMiller), y Heatwave (Dominic Purcell) – para enfrentar a una imparable amenaza. Tras salvar al mundo, Legends of Tomorrow ahora se les ha asignado la tarea de proteger el tiempo — pasado, presente y futuro — en sí mismo. Esta responsabilidad los llevará a través de la historia, llevándoles contra una amenaza como jamás haya conocido la humanidad. Basada en los personajes de DC, DC’S LEGENDS OF TOMORROW es de Bonanza Productions Inc. ien asociación con Berlanti Productions y la Warner Bros. Television, con los productores ejecutivos Greg Berlanti (“Arrow,” “The Flash,” “Supergirl”), Marc Guggenheim (“Arrow,”“Eli Stone,” “Percy Jackson: Sea of Monsters”), Andrew Kreisberg (“Arrow,” “TheFlash,” “Eli Stone,” “Warehouse 13”), Phil Klemmer (“The Tomorrow People,”“Chuck”), Chris Fedak (“Forever,” “Chuck”) y Sarah Schechter (“Arrow,” “TheFlash”).
MIDSEASON “IZOMBIE”
Durante la fascinante segunda temporada de iZOMBIE, Liv Moore (Rose McIver) empieza a confiar más en su habilidad para usar los poderes zombie para resolver casos de homicidio. Como una intrépida y zombie examinadora médica, Liv se come los cerebros de las víctimas de asesinato y usa las subsecuentes visiones que experimenta para ayudar al Detective Clive Babinaux (Malcolm Goodwin) a poner a los asesinos tras las rejas. Mientras tanto, el jefe y condidente de Liv, el Dr. Ravi Chakrabarti (RahulKohli), trabaja en un medio para revertir el efecto de una cura que se ha convertido en una sentencia de muerte tanto para Liv como para su antiguo prometido Major Lillywhite (Robert Buckley), y también para su enemigo y antiguo mercader de cerebros zombie Blaine DeBeers (David Anders). Mientras tanto, la compañía de bebidas energéticas Max Rager, dirigida por el trastornado Vaughn DuClark (Steven Weber), obliga a Major a secuestrar a zombies inocentes de Seattle para prevenir su exterminio, y también el de la zombie favorita de Seattle de Major, Liv. La cuerda se tensa para Major cuando Clive y su novia del FBI, Dale Bozzio, empiezan a convencerse cada vez más de que Major es el “Asesino del Caos,” un apodo que se le ha puesto al criminal que está haciendo desaparecer a la acomodada (y secretamente no muerta) población sin ningún rastro. Simultáneamente, el plan de Blaine de reemplazar a su antiguo jefe como el capo criminal de Seattle se arruina cuando la última versión de la cura zombie de Ravi le borra a Blaine todos sus recuerdos. Una season finale climática y sangrienta dispersa las fichas del tablero de ajedrez de iZOMBIE. Surge de las cenizas un nuevo proveedor de cerebros que hace que la época de proveedor de cerebros de Blaine parezca casi humanitaria. También, Vivian Stoll (Andrea Savage), CEO de Fillmore Graves Enterprises, una contratista militar privada, ahora guarda los secretos de los poderes ilimitados zombies una vez que los tiene, pero no los entiende completamente, de Max Rager. Vivian quiere hacer de Seattle la capital del hogar zombie, y planea hacerlo por todos los medios que sean necesarios. Preferiría hacerlo con la ayuda de Liv, pero estará feliz de hacerlo sobre el cuerpo casi muerto de Liv. Basada en los personajes de Chris Roberson y Michael Allred, y publicados por Vertigo de DC Entertainment, iZOMBIE es de Bonanza Productions Inc. en asociación con Spondoolie Productions y la Warner Bros. Television, con los productores ejecutivos Rob Thomas (“VeronicaMars,” “Party Down,” “Cupid”), Diane Ruggiero-Wright (“Veronica Mars,” “The ExList,” “That’s Life”), Danielle Stokdyk (“Veronica Mars,” “Party Down,” “Cupid”) y Dan Etheridge (“The Carrie Diaries,” “Veronica Mars,” “Party Down”).
http://www.ign.com/articles/2016/05/19/ ... -midseason
http://www.hollywoodreporter.com/live-f ... ers-895680
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- The CW 2016/2017 Sizzle Reel Video "Dare to Defy":
https://amp.twimg.com/v/3a14ba2c-3917-4 ... 39c2018ff3
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
- "The Superheroes of The CW" Extended Trailer | The CW:
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "Nuevo proyecto para la CW sobre 'THE FLASH'"
"CW Upfronts 2016", N.Y. [RECAP: Fotos, videos e info]
Fotos:
Videos:
http://grantgustinnews.com/post/1446050 ... -routh-are
https://twitter.com/snowbarrynews/statu ... 3502530560
Grant Gustin of 'The Flash' at The CW Upfronts (TVLine)
Grant Gustin on @CW_TheFlash fans and what he wants to see for Season 3! (extratv)
Grant Gustin On The Flash Finale And Season 3 (comicbook)
The Flash - Grant Gustin on Season 2's Finale and Setting Up Season 3 (IGN)
The Flash - Carlos Valdes on Season 2's Finale and Future Crossovers (IGN)
CW Upfronts 2016: Stephen Amell, Grant Gustin, Brandon Routh & Carlos Valdes (CelebrityMagnet0105)
Grant Gustin Talks 'Confusing' Iron Mask Reveal and Barry's 'Love Life' in Season 3! (ET Online)
Grant Gustin Ships Flash & Supergirl (DC Entertainment)
Grant Gustin Warns The Flash's Season 2 Finale Is About to Break Your Heart (EOnline)
Favorite Scenes: 'Arrow,' 'Flash,' Other CW Shows (TVLine)
Info:
- Melissa Benoist, Grant Gustin & More CW Stars React to ‘Supergirl’s’ Big Move and Mega Crossovers (Variety)
Barry Will Maintain His Optimism in "The Flash" Season 3, Says Grant Gustin (CBR)
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!