- Bts vid "Even Supergirl sometimes need to rest" (13-10-15):
https://amp.twimg.com/v/ea376e45-9217-4 ... 80076b18ef
"SUPERGIRL", nueva serie en la CBS/CW
Moderadores: Shelby, Lore, Super_House, ZeTa, Trasgo
Re: "SUPERGIRL", nueva serie en la CBS
- SUPERGIRL "Let´s Hear it" Promo:
https://instagram.com/p/8yX-nlBqnX/
- SUPERGIRL "What Fuels Supergirl?" Promo:
http://www.supergirl.tv/what-fuels-supergirl-video
- SUPERGIRL "CBS Local Inside Look" Promo:
http://up.anv.bz/latest/anvload.html?ke ... Y5OGY2NyJ9
- "Supergirl" UK Trailer - Sky 1:
https://www.youtube.com/watch?v=mdOSUE7t7dk
https://instagram.com/p/8yX-nlBqnX/
- SUPERGIRL "What Fuels Supergirl?" Promo:
http://www.supergirl.tv/what-fuels-supergirl-video
- SUPERGIRL "CBS Local Inside Look" Promo:
http://up.anv.bz/latest/anvload.html?ke ... Y5OGY2NyJ9
- "Supergirl" UK Trailer - Sky 1:
https://www.youtube.com/watch?v=mdOSUE7t7dk
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Descripción oficial del 1.02 "Stronger Together":
- Primera Still del 1.02 "Stronger Together":
1.02 "Stronger Together" (02-11-15): Cuando los intentos de Kara de ayudar a National City no van según el plan, ella debe dejar de lado las dudas que ella – y los medios de la ciudad – tienen sobre sus habilidades para capturar un escapado de la prisión kriptoniana, Fort Rozz. También, Cat presiona a James para que use su conexión con Superman para conseguirle una entrevista con Supergirl (8:00-9:00 PM, ET/PT) en la CBS Television Network.
http://www.kryptonsite.com/supergirl-ep ... -together/
http://www.kryptonsite.com/supergirl-ep ... -together/
- Primera Still del 1.02 "Stronger Together":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- THE FLASH/SUPERGIRL Warner Brasil Promo pic:
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Productores de 'Supergirl': 'Superman no está en la serie porque no va sobre él' (HitFix):
Productores de 'Supergirl': 'Superman no está en la serie porque no va sobre él'
Por Alan Sepinwall 16 Oct, 2015 9:00 AM
When CBS unveiled the first extended trailer for "Supergirl" — its entree into the ubiquitous new world of TV superhero action, as well as the network's biggest priority for this TV season — in May, many fan's immediate reaction was to note the unfortunate similarities to the recent "Saturday Night Live" parody trailer for a "Black Widow" movie that suggested any female superhero story would be presented as a romantic comedy.
But while the "Supergirl" trailer definitely played up the most "Devil Wears Prada"-ish aspects — where the title character (Melissa Benoist) in her civilian identity is the mousy assistant to a snarling media mogul played by Calista Flockhart, and has bad luck in the dating department — that's only one component of the full pilot, which has a lot of action, and a lot of discussion about how Supergirl should be taken every bit as seriously as her more celebrated male cousin.
Some of that trailer reaction, though, seemed as much about the long and often very clumsy history of Supergirl as it did about what people were actually watching. Introduced to the comics world in 1959, Supergirl's a character that DC writers have often struggled to know what to do with, emphasizing her romantic struggles, or her feelings of inadequacy compared to Superman (even though their powers are identical), either because it was assumed that's what the audience wanted, or because that's all most of her writers could think to do with her. For a long time, the most memorable Supergirl story was the one (in 1985's "Crisis on Infinite Earths") where she died.
So there's an assumption, at least among comics fandom, that Supergirl will default to that simpering rom-com mode without the proper writers in charge. In the case of the CBS show (which debuts on October 26 at 8 p.m.), the pilot's writer is Ali Adler, who's written both strong women and superhero-ish characters on "Chuck" and "No Ordinary Family," while Adler's fellow executive producers include Greg Berlanti, Andrew Kreisberg, and Sarah Schachter, who have been working for years on the CW's "Arrow" and "The Flash." They know the world and they know how to make it work on television.
At press tour, I sat down with the quartet to discuss their vision for the character, how they intend to work around the absence of Superman (who exists in the show's universe but will never appear as more than a blur in the background), why it would be complicated to attempt a crossover with either of the CW shows, plans for some of the weirder Supergirl supporting players like Streaky and Comet, and a lot more.
In your version of the universe, Superman is never going to appear, but he is discussed. Is that Superman supposed to be the Superman of the movies or not?
Sarah Shechter: I really think it doesn’t matter. I think that this whole notion that we did Supergirl because Superman wasn’t available is wrong. I think that Supergirl is such an interesting character and is so under-explored that the opportunity there was so enormous. And I think the reason why Superman’s not in the show is because it’s not about him. And it’s her show and it’s about her and he is just sort of a shadow in the back of her psyche, and I think that’s the right way to portray him because that’s how she experiences it.
Andrew Kreisberg: But it’s not specifically the Christopher Reeve tie in to the universe. It’s not the Christopher Reeve version. It’s not the Henry Cavill version. It’s a version of Superman and what he has gone through in the world that we live in and the things that he’s faced and what’s happened to him vis-a-vis how it reflects on Kara is all our invention.
In the CW shows, when things get really, really bad, Arrow and Flash can team up. You’ve introduced a major ongoing threat to the world in this pilot, and Superman does exist in this world. Have you guys figured out how to explain why they won't be teaming up?
Ali Adler: We will find a way to address that question.
Andrew Kreisberg: It’s actually one of the big storylines of the third episode about what Superman means in this world, what he means to Kara and what people’s view of him is in relation to her. Kara says says to somebody, like, "I don’t want to be his cousin, you know, I want him to be my cousin. And I want people to think of me in the same way that they think about him." And it’s really the episode where the city starts to turn towards supporting her in a way that they previously hadn’t.
I once had a roommate who was obsessed with Supergirl, and she would go on these long rants about how she loved the idea of the character but almost never the execution of the character. She reminded me about this panel...
Andrew Kreisberg: I love that panel.
Ali Adler: Awww... But that's not our Supergirl.
Greg Berlanti: I remember when she had the little S.
The little S and the hot pants.
Ali Adler: I think it’s the carnation S that is making her not succeed with men.
Andrew Kreisberg: The only girl in Kansas without a date.
Greg Berlanti: And there's at times been an over-sexualization in this character too, which is also not at all what we’re trying to do.
But I think that history is part of why you guys ran into the reaction to the trailer that you did, where any kind of relationship story, or any moment where she’s vulnerable, you’re going to be judged so much more harshly with a female hero than if, say, Flash gets emotional about something. How do you approach that, because that’s a part of who she is?
Sarah Shechter: I think we want this to be, to quote Greg, what would this show be if she didn’t have super powers? And I think exploring her personal life and her romantic life is a very interesting area for any television show. But it’s not a romantic comedy, you know. There’s action adventure, but that’s not all it is. There’s all this genre exploration, but that’s not all it is. And the wonderful thing about the show for us anyway is that it is all those things.
Andrew Kreisberg: You could take the Richard Donner Superman movie and cut a similar trailer if you had all the fun, romantic aspect of it. And it’s a show about a 24-year-old girl. And one aspect of any 24-year-old woman’s life is that she’s dating.
Sarah Shechter: It definitely works for that.
Andrew Kreisberg: And so there will be that aspect to it, but it’s also a…
Ali Adler: I guarantee if there’s danger out there and she’s about to go on a date, she’s always going to choose danger.
Greg Berlanti: But it’s also a workplace comedy. It’s a spy thriller. It’s an adventure show. It’s a superhero show. It’s a family drama. It has all those things. It’s just one aspect of it.
There's a big action set piece early in the pilot, and then a big battle late between Supergirl and Vartox. Some combination of you four has worked on both "No Ordinary Family" and "The Flash," so you have some level of experience with doing super-powered action on network TV. Have you had a sense yet of whether you can do things that big weekly or not?
Greg Berlanti: There’s a bigger fight in the second episode than there is in anything in the first episode. I think we learned a lot from "Flash" is in terms of the prep work that happens. It starts months in advance. Before we even have outlines for the scripts we start, visualizing and storyboarding some of the sequences. And sometimes we don’t finish them until a day or so before air. So you have eight, nine weeks working on a shot and you have to be really organized about that element of the show and know that you have more flexibility. And you have to get the network and the studio to sign off on that element of it a lot earlier, so that you can actually start fabricating them.
Andrew Kreisberg: It’s actually a weird mix of "Arrow" and "Flash," because it obviously has the digital effects that "Flash" does but it actually has a lot more stunt work. There’s a lot more actual stunt people fighting.
Greg Berlanti: And more aerial stunt stuff than we have on either of the shows.
Sarah Shechter: And Flash has a mask, whereas we really need to put this girl front and center.
So do you have to start with the action and figure out everything else later to match it?
Sarah Shechter: Just with some of it. One of the things I think that made people fall in love with "Flash" was it didn’t feel like, "Oh, this is a level below film." It’s the same high standard regardless of where people are watching things. So I think with the things that have to be visual, you have to just plan in advance.
Ali Adler: I feel like the second episode really competes with or even bypasses the pilot.
Greg Berlanti: Right now it feels a little bigger than the pilot.
The pilot, as you've talked about, really has the lighter feel of the Richard Donner/Christopher Reeve Superman movies, and that’s not at all the tone that the DC movies have been going for of late. Was there any pushback from DC in your dealings with them when you said you wanted a lighter tone for Supergirl?
Ali Adler: No, they said, "Go find Supergirl."
Andrew Kreisberg: I think they just want their universe, just like in the books, to be all those different colors. And they also know that that’s a lot of all of our strengths. We move more in those waters. And plus that tone is good for being on television, I think, where people want to come every week. It doesn’t mean we don’t have danger and gravitas and hopefully the same stakes when we need them. But there is just an element of fun that I think lends itself to the TV side of it.
One of the things you guys did with "Arrow" is you took in a bunch of Batman villains who were not necessarily going to be in use in an upcoming Batman movie. By the same token, Vartox is more of a Superman supporting character.
Andrew Kreisberg: We have both.
Greg Berlanti: Supergirl. Superman. Some other ones from other characters. We go off planet on this show, which that introduced a whole level of villains that we haven’t been able to on the other shows.
Ali Adler: The Fort Rozz escapees.
Andrew Kreisberg: That group will be made up of alien villains from across the DC Universe canon.
I know Nina (Tassler) said there aren’t going to be crossovers, but do your versions of Flash and Arrow exist in some other neighborhood of her world?
Greg Berlanti: Look I think in success anything’s possible but the reality is, on "Flash" and "Arrow" we haven’t mentioned Superman, and Superman’s in this universe. So we would have to do a bit of our own retconning if we were ever to make that a possibility. So that hasn’t happened yet but, again, if the show does well on its own, I think anything’s possible.
Are there any plans for Streaky the Supercat or Comet the Superhorse?
(all laugh)
Andrew Kreisberg: By the way, there’s probably been far more Streaky and Comet talk in the writer’s room than the public imagines. As always, one of those fun things of the show is taking all of those fun things and finding different ways to do them.
Comet is just ridiculous. Like, it’s a horse, and a centaur, and her boyfriend.
Andrew Kreisberg: Comet was added because somewhere they all thought, "Oh, girls like horses."
Sarah Shechter: It predated My Little Pony.
Greg Berlanti: Superman and My Little Pony put together?
But they take it to the extreme that she dates Comet.
Sarah Shechter: That is insane.
I assume you’re not going to that if Comet does appear.
Sarah Shechter: We will not do bestiality for Supergirl.
Supergirl has been through a lot of costumes over the years, and at one point, DC would invite readers to send in their own costume designs and she would wear them. The one she ends up with here looks like it’s made of the same kind of material that Henry Cavill wears in the movies. How did you decide on exactly what you wanted?
Sarah Shechter: We just said, "Let’s ask the Academy Award winner." So we really let (Colleen Atwood) do her thing and had tiny thoughts. And everything is so thoughtful with her. She knows the etymology of every stitch. It’s very well thought out and it feels like a practical suit. Like, if I were going to be super, I would wear that suit. I don’t need to run like Wonder Woman like this when I want to save people with no straps on my top. She’s amazing.
Andrew Kreisberg: One of the great things that Colleen does is that it’s not running away from what the character is. I think a lot of times Supergirl, but female comic book heroes in general, their costumes go through all these crazy iterations, because people are afraid of embracing what it really is. And Colleen finds a way to make this classic look feel contemporary. And she did that with the Arrow outfit. She did that with the Flash outfit.
Ali Adler: She has thumbholes and she has boots above her knee and there’s fun with it, but it’s very fresh.
That was a feeling for a while before the shows you guys have been doing, where producers felt they had to normalize it. "Heroes" or even "Smallville" went out of their way to keep superheroes out of superhero costumes.
Greg Berlanti: I think with the plethora of all these films, you can’t try and do that for a superhero show on TV when people can go to the movies and see the characters in their uniforms. We had to compete with those things. And so every time we’ve done one of these, we’ve gotten even faster and faster to the suit. And even faster to people finding out their secret, to a certain extent. And with this one, we have a lot more characters who know who she is. Just so that we can think move on with the storytelling.
One of things I’ve discovered in watching "Arrow" and "Flash" is I’m much less patient about secret identities than I was reading comic books growing up.
Greg Berlanti: Right. I think that's the audience right now, and we discovered that while we’re going on. It’s like with Iris last year on "Flash," midway through the year: Why doesn't she know? We knew she was going to find out at the end of the season, and that would have been so revolutionary before. I mean, we’re glad we at least had to have her, you know, find out at that point.
Andrew Kreisberg: But it’s funny. You look back at "Arrow" in the beginning, in the pilot there’s no other character that knew his identity, knew his secret. And, you know, the minute Diggle found out, the minute Felicity found out, the show suddenly became so much more interesting.
Do you have access to Lex Luthor’s sister Lena (a supporting character in some Supergirl stories) or not?
Andrew Kreisberg: That’s interesting. I don’t know.
Greg Berlanti: We haven’t asked about it yet.
Andrew Kreisberg: DC’s been really amazing. Georff Johns has obviously been our partner in all of this and they’ve been incredibly supportive about letting us sort of play in the Superman sandbox. We’ve got access to all the Flash characters and stuff, and there’s obviously some of the characters that are associated with the films that we won’t be able to touch on. But we’re very happy with the characters that we do have.
Supergirl's a character who's been in a lot of stories since 1949, but somehow the most definitive Supergirl comic book story is the one where she dies.
Greg Berlanti: Right.
Is there a comic book story featuring her that you look at and say, "This is what we’re trying to do"?
Andrew Kreisberg: I think, like with any of the things that we’ve done, we cherry pick the best bits. None of these shows are direct adaptations of any specific comic book. Obviously, with "Flash" we took aspects of "Rebirth" and "Flashpoint" for season 1, but it’s chock full of stuff from all the versions. And I think thatthere’s little bits of her from the '50s in this show, there's obviously little bits of the Jeph Loeb version of it. But there’s even little bits of the movie. Obviously Helen Slater’s in it. I think for us, it’s always finding the kernels throughout the history as opposed to glomming onto one specific storyline that really spoke to us.
But does the fact that there isn’t a definitive Supergirl story actually help?
Sarah Shechter: That’s what’s exciting for us, is that our canvas is much more easily painted because people aren’t stuck in ideas of who Superman is want this version or that version. We get to take the most choice bits, as Andrew was saying, and weave it together and just give you our Supergirl.
Andrew Kreisberg: People are surprised when I tell them we work on "Supergirl." How many people actually don’t know who she is, even ones in the general public and are comic book fans. But which in a way is exciting, because that means that we’re able to bring a lot more to it. And that all you really need to come to the show is just like a little bit of knowledge of Superman for you to enjoy the meal.
http://www.hitfix.com/whats-alan-watchi ... -about-him
Por Alan Sepinwall 16 Oct, 2015 9:00 AM
When CBS unveiled the first extended trailer for "Supergirl" — its entree into the ubiquitous new world of TV superhero action, as well as the network's biggest priority for this TV season — in May, many fan's immediate reaction was to note the unfortunate similarities to the recent "Saturday Night Live" parody trailer for a "Black Widow" movie that suggested any female superhero story would be presented as a romantic comedy.
But while the "Supergirl" trailer definitely played up the most "Devil Wears Prada"-ish aspects — where the title character (Melissa Benoist) in her civilian identity is the mousy assistant to a snarling media mogul played by Calista Flockhart, and has bad luck in the dating department — that's only one component of the full pilot, which has a lot of action, and a lot of discussion about how Supergirl should be taken every bit as seriously as her more celebrated male cousin.
Some of that trailer reaction, though, seemed as much about the long and often very clumsy history of Supergirl as it did about what people were actually watching. Introduced to the comics world in 1959, Supergirl's a character that DC writers have often struggled to know what to do with, emphasizing her romantic struggles, or her feelings of inadequacy compared to Superman (even though their powers are identical), either because it was assumed that's what the audience wanted, or because that's all most of her writers could think to do with her. For a long time, the most memorable Supergirl story was the one (in 1985's "Crisis on Infinite Earths") where she died.
So there's an assumption, at least among comics fandom, that Supergirl will default to that simpering rom-com mode without the proper writers in charge. In the case of the CBS show (which debuts on October 26 at 8 p.m.), the pilot's writer is Ali Adler, who's written both strong women and superhero-ish characters on "Chuck" and "No Ordinary Family," while Adler's fellow executive producers include Greg Berlanti, Andrew Kreisberg, and Sarah Schachter, who have been working for years on the CW's "Arrow" and "The Flash." They know the world and they know how to make it work on television.
At press tour, I sat down with the quartet to discuss their vision for the character, how they intend to work around the absence of Superman (who exists in the show's universe but will never appear as more than a blur in the background), why it would be complicated to attempt a crossover with either of the CW shows, plans for some of the weirder Supergirl supporting players like Streaky and Comet, and a lot more.
In your version of the universe, Superman is never going to appear, but he is discussed. Is that Superman supposed to be the Superman of the movies or not?
Sarah Shechter: I really think it doesn’t matter. I think that this whole notion that we did Supergirl because Superman wasn’t available is wrong. I think that Supergirl is such an interesting character and is so under-explored that the opportunity there was so enormous. And I think the reason why Superman’s not in the show is because it’s not about him. And it’s her show and it’s about her and he is just sort of a shadow in the back of her psyche, and I think that’s the right way to portray him because that’s how she experiences it.
Andrew Kreisberg: But it’s not specifically the Christopher Reeve tie in to the universe. It’s not the Christopher Reeve version. It’s not the Henry Cavill version. It’s a version of Superman and what he has gone through in the world that we live in and the things that he’s faced and what’s happened to him vis-a-vis how it reflects on Kara is all our invention.
In the CW shows, when things get really, really bad, Arrow and Flash can team up. You’ve introduced a major ongoing threat to the world in this pilot, and Superman does exist in this world. Have you guys figured out how to explain why they won't be teaming up?
Ali Adler: We will find a way to address that question.
Andrew Kreisberg: It’s actually one of the big storylines of the third episode about what Superman means in this world, what he means to Kara and what people’s view of him is in relation to her. Kara says says to somebody, like, "I don’t want to be his cousin, you know, I want him to be my cousin. And I want people to think of me in the same way that they think about him." And it’s really the episode where the city starts to turn towards supporting her in a way that they previously hadn’t.
I once had a roommate who was obsessed with Supergirl, and she would go on these long rants about how she loved the idea of the character but almost never the execution of the character. She reminded me about this panel...
Andrew Kreisberg: I love that panel.
Ali Adler: Awww... But that's not our Supergirl.
Greg Berlanti: I remember when she had the little S.
The little S and the hot pants.
Ali Adler: I think it’s the carnation S that is making her not succeed with men.
Andrew Kreisberg: The only girl in Kansas without a date.
Greg Berlanti: And there's at times been an over-sexualization in this character too, which is also not at all what we’re trying to do.
But I think that history is part of why you guys ran into the reaction to the trailer that you did, where any kind of relationship story, or any moment where she’s vulnerable, you’re going to be judged so much more harshly with a female hero than if, say, Flash gets emotional about something. How do you approach that, because that’s a part of who she is?
Sarah Shechter: I think we want this to be, to quote Greg, what would this show be if she didn’t have super powers? And I think exploring her personal life and her romantic life is a very interesting area for any television show. But it’s not a romantic comedy, you know. There’s action adventure, but that’s not all it is. There’s all this genre exploration, but that’s not all it is. And the wonderful thing about the show for us anyway is that it is all those things.
Andrew Kreisberg: You could take the Richard Donner Superman movie and cut a similar trailer if you had all the fun, romantic aspect of it. And it’s a show about a 24-year-old girl. And one aspect of any 24-year-old woman’s life is that she’s dating.
Sarah Shechter: It definitely works for that.
Andrew Kreisberg: And so there will be that aspect to it, but it’s also a…
Ali Adler: I guarantee if there’s danger out there and she’s about to go on a date, she’s always going to choose danger.
Greg Berlanti: But it’s also a workplace comedy. It’s a spy thriller. It’s an adventure show. It’s a superhero show. It’s a family drama. It has all those things. It’s just one aspect of it.
There's a big action set piece early in the pilot, and then a big battle late between Supergirl and Vartox. Some combination of you four has worked on both "No Ordinary Family" and "The Flash," so you have some level of experience with doing super-powered action on network TV. Have you had a sense yet of whether you can do things that big weekly or not?
Greg Berlanti: There’s a bigger fight in the second episode than there is in anything in the first episode. I think we learned a lot from "Flash" is in terms of the prep work that happens. It starts months in advance. Before we even have outlines for the scripts we start, visualizing and storyboarding some of the sequences. And sometimes we don’t finish them until a day or so before air. So you have eight, nine weeks working on a shot and you have to be really organized about that element of the show and know that you have more flexibility. And you have to get the network and the studio to sign off on that element of it a lot earlier, so that you can actually start fabricating them.
Andrew Kreisberg: It’s actually a weird mix of "Arrow" and "Flash," because it obviously has the digital effects that "Flash" does but it actually has a lot more stunt work. There’s a lot more actual stunt people fighting.
Greg Berlanti: And more aerial stunt stuff than we have on either of the shows.
Sarah Shechter: And Flash has a mask, whereas we really need to put this girl front and center.
So do you have to start with the action and figure out everything else later to match it?
Sarah Shechter: Just with some of it. One of the things I think that made people fall in love with "Flash" was it didn’t feel like, "Oh, this is a level below film." It’s the same high standard regardless of where people are watching things. So I think with the things that have to be visual, you have to just plan in advance.
Ali Adler: I feel like the second episode really competes with or even bypasses the pilot.
Greg Berlanti: Right now it feels a little bigger than the pilot.
The pilot, as you've talked about, really has the lighter feel of the Richard Donner/Christopher Reeve Superman movies, and that’s not at all the tone that the DC movies have been going for of late. Was there any pushback from DC in your dealings with them when you said you wanted a lighter tone for Supergirl?
Ali Adler: No, they said, "Go find Supergirl."
Andrew Kreisberg: I think they just want their universe, just like in the books, to be all those different colors. And they also know that that’s a lot of all of our strengths. We move more in those waters. And plus that tone is good for being on television, I think, where people want to come every week. It doesn’t mean we don’t have danger and gravitas and hopefully the same stakes when we need them. But there is just an element of fun that I think lends itself to the TV side of it.
One of the things you guys did with "Arrow" is you took in a bunch of Batman villains who were not necessarily going to be in use in an upcoming Batman movie. By the same token, Vartox is more of a Superman supporting character.
Andrew Kreisberg: We have both.
Greg Berlanti: Supergirl. Superman. Some other ones from other characters. We go off planet on this show, which that introduced a whole level of villains that we haven’t been able to on the other shows.
Ali Adler: The Fort Rozz escapees.
Andrew Kreisberg: That group will be made up of alien villains from across the DC Universe canon.
I know Nina (Tassler) said there aren’t going to be crossovers, but do your versions of Flash and Arrow exist in some other neighborhood of her world?
Greg Berlanti: Look I think in success anything’s possible but the reality is, on "Flash" and "Arrow" we haven’t mentioned Superman, and Superman’s in this universe. So we would have to do a bit of our own retconning if we were ever to make that a possibility. So that hasn’t happened yet but, again, if the show does well on its own, I think anything’s possible.
Are there any plans for Streaky the Supercat or Comet the Superhorse?
(all laugh)
Andrew Kreisberg: By the way, there’s probably been far more Streaky and Comet talk in the writer’s room than the public imagines. As always, one of those fun things of the show is taking all of those fun things and finding different ways to do them.
Comet is just ridiculous. Like, it’s a horse, and a centaur, and her boyfriend.
Andrew Kreisberg: Comet was added because somewhere they all thought, "Oh, girls like horses."
Sarah Shechter: It predated My Little Pony.
Greg Berlanti: Superman and My Little Pony put together?
But they take it to the extreme that she dates Comet.
Sarah Shechter: That is insane.
I assume you’re not going to that if Comet does appear.
Sarah Shechter: We will not do bestiality for Supergirl.
Supergirl has been through a lot of costumes over the years, and at one point, DC would invite readers to send in their own costume designs and she would wear them. The one she ends up with here looks like it’s made of the same kind of material that Henry Cavill wears in the movies. How did you decide on exactly what you wanted?
Sarah Shechter: We just said, "Let’s ask the Academy Award winner." So we really let (Colleen Atwood) do her thing and had tiny thoughts. And everything is so thoughtful with her. She knows the etymology of every stitch. It’s very well thought out and it feels like a practical suit. Like, if I were going to be super, I would wear that suit. I don’t need to run like Wonder Woman like this when I want to save people with no straps on my top. She’s amazing.
Andrew Kreisberg: One of the great things that Colleen does is that it’s not running away from what the character is. I think a lot of times Supergirl, but female comic book heroes in general, their costumes go through all these crazy iterations, because people are afraid of embracing what it really is. And Colleen finds a way to make this classic look feel contemporary. And she did that with the Arrow outfit. She did that with the Flash outfit.
Ali Adler: She has thumbholes and she has boots above her knee and there’s fun with it, but it’s very fresh.
That was a feeling for a while before the shows you guys have been doing, where producers felt they had to normalize it. "Heroes" or even "Smallville" went out of their way to keep superheroes out of superhero costumes.
Greg Berlanti: I think with the plethora of all these films, you can’t try and do that for a superhero show on TV when people can go to the movies and see the characters in their uniforms. We had to compete with those things. And so every time we’ve done one of these, we’ve gotten even faster and faster to the suit. And even faster to people finding out their secret, to a certain extent. And with this one, we have a lot more characters who know who she is. Just so that we can think move on with the storytelling.
One of things I’ve discovered in watching "Arrow" and "Flash" is I’m much less patient about secret identities than I was reading comic books growing up.
Greg Berlanti: Right. I think that's the audience right now, and we discovered that while we’re going on. It’s like with Iris last year on "Flash," midway through the year: Why doesn't she know? We knew she was going to find out at the end of the season, and that would have been so revolutionary before. I mean, we’re glad we at least had to have her, you know, find out at that point.
Andrew Kreisberg: But it’s funny. You look back at "Arrow" in the beginning, in the pilot there’s no other character that knew his identity, knew his secret. And, you know, the minute Diggle found out, the minute Felicity found out, the show suddenly became so much more interesting.
Do you have access to Lex Luthor’s sister Lena (a supporting character in some Supergirl stories) or not?
Andrew Kreisberg: That’s interesting. I don’t know.
Greg Berlanti: We haven’t asked about it yet.
Andrew Kreisberg: DC’s been really amazing. Georff Johns has obviously been our partner in all of this and they’ve been incredibly supportive about letting us sort of play in the Superman sandbox. We’ve got access to all the Flash characters and stuff, and there’s obviously some of the characters that are associated with the films that we won’t be able to touch on. But we’re very happy with the characters that we do have.
Supergirl's a character who's been in a lot of stories since 1949, but somehow the most definitive Supergirl comic book story is the one where she dies.
Greg Berlanti: Right.
Is there a comic book story featuring her that you look at and say, "This is what we’re trying to do"?
Andrew Kreisberg: I think, like with any of the things that we’ve done, we cherry pick the best bits. None of these shows are direct adaptations of any specific comic book. Obviously, with "Flash" we took aspects of "Rebirth" and "Flashpoint" for season 1, but it’s chock full of stuff from all the versions. And I think thatthere’s little bits of her from the '50s in this show, there's obviously little bits of the Jeph Loeb version of it. But there’s even little bits of the movie. Obviously Helen Slater’s in it. I think for us, it’s always finding the kernels throughout the history as opposed to glomming onto one specific storyline that really spoke to us.
But does the fact that there isn’t a definitive Supergirl story actually help?
Sarah Shechter: That’s what’s exciting for us, is that our canvas is much more easily painted because people aren’t stuck in ideas of who Superman is want this version or that version. We get to take the most choice bits, as Andrew was saying, and weave it together and just give you our Supergirl.
Andrew Kreisberg: People are surprised when I tell them we work on "Supergirl." How many people actually don’t know who she is, even ones in the general public and are comic book fans. But which in a way is exciting, because that means that we’re able to bring a lot more to it. And that all you really need to come to the show is just like a little bit of knowledge of Superman for you to enjoy the meal.
http://www.hitfix.com/whats-alan-watchi ... -about-him
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Nuevas imágenes bts en el set de la S1 (15-16 Oct 2015):
(@karterhol: @jeremymjordan & @tengstagram share a laugh back stage on #supergirl
@karterhol: @tengstagram & @chy_leigh in between shots on #supergirl
@karterhol: @tengstagram introduces #supergirl crew to his awesome card game competition. Prizes were had & it was rad @melissabenoist @davidharewood @chy_leigh
@aliadler: Eyes that match his shirt. The genius @peterfacinelli #supergirl #maxwelllord)
(@karterhol: @jeremymjordan & @tengstagram share a laugh back stage on #supergirl
@karterhol: @tengstagram & @chy_leigh in between shots on #supergirl
@karterhol: @tengstagram introduces #supergirl crew to his awesome card game competition. Prizes were had & it was rad @melissabenoist @davidharewood @chy_leigh
@aliadler: Eyes that match his shirt. The genius @peterfacinelli #supergirl #maxwelllord)
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- New bts vid "Mehcad Brooks covering his tatoos before shooting" (16-10-15):
https://amp.twimg.com/v/4c1bf186-153b-4 ... 542e1fe988
https://amp.twimg.com/v/4c1bf186-153b-4 ... 542e1fe988
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- "Supergirl"´s outfits on 'People Magazine' (Oct 2015):
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- ¡¡¡Revelados nuevos detalles sobre 'Toyman' en "Supergirl"!!!:
Todos nos habíamos preguntando cuál sería la identidad de 'Toyman' en la nueva serie de la CBS "Supergirl" y cuál sería su relación con el personaje de Jeremy Jordan 'Winn' después de habernos dicho los productores que él no sería el villano de DC como todos pensábamos.
Ahora, Matt Mitovich en su sección de spoilers de TV Line ha revelado algunos detalles sobre el personaje, además de otros detalles sobre un nuevo personaje del que se está haciendo el cásting para el episodio 1.10 de la serie:
http://tvline.com/2015/10/18/once-upon- ... e-episode/
Ahora, Matt Mitovich en su sección de spoilers de TV Line ha revelado algunos detalles sobre el personaje, además de otros detalles sobre un nuevo personaje del que se está haciendo el cásting para el episodio 1.10 de la serie:
"Como se apuntó en la New York Comic-Con, la serie de la CBS está haciendo los cástings para Winslow Schott Sr. aka el demente y violento Toyman. Recientemente escapado de la prisión, Toyman busca vengarse del hombre que le costó su trabajo – tras buscar un tiempo de calidad con su hijo Winn, el colega de Kara en CatCo. Toyman debuta en el Episodio 10, que también está haciendo cástings para Saffron Belle, el agente del FBI que sigue el rastro de Toyman".
http://tvline.com/2015/10/18/once-upon- ... e-episode/
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- SUPERGIRL "One Week" Promo:
https://amp.twimg.com/v/55067a78-ac8c-4 ... 27e48be3cd
- "Supergirl"´s cast preview next week premiere (bts featurette):
https://www.youtube.com/watch?v=PJEoJQZ0uko
https://www.yahoo.com/tv/39-supergirl-i ... 85334.html
- "CBS Monday Combo Promo":
https://amp.twimg.com/v/84e50d9a-1213-4 ... 6762e6c4ae
http://www.spoilertv.com/2015/10/cbs-mo ... um=twitter
https://amp.twimg.com/v/55067a78-ac8c-4 ... 27e48be3cd
- "Supergirl"´s cast preview next week premiere (bts featurette):
https://www.youtube.com/watch?v=PJEoJQZ0uko
https://www.yahoo.com/tv/39-supergirl-i ... 85334.html
- "CBS Monday Combo Promo":
https://amp.twimg.com/v/84e50d9a-1213-4 ... 6762e6c4ae
http://www.spoilertv.com/2015/10/cbs-mo ... um=twitter
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Productores de "Supergirl" sobre las políticas de hacer un superhéroe femenino (EW):
- Benoist y los productores ejecutivos se abren sobre los villanos de "Supergirl", el misterio que rodea su origen y más (CBR):
Productores de "Supergirl" sobre las políticas de hacer un superhéroe femenino
Por James Hibberd 19 Oct, 2015
With Supergirl taking flight on CBS tonight we sat with executive producers Greg Berlanti (Arrow, The Flash) and Ali Adler (Glee, Chuck) to ask some of our burning questions, particularly about the politics of making broadcast’s first female-driven costumed superhero show on Big 4 network in decades.
Entertainment Weekly: What was specifically the hardest thing about making this show?
Greg Berlanti: I think I would say twofold: One was the stress of making sure that we had the right Supergirl. These things are incredibly cast-dependent, and if we don’t have that right person, you’re done even before you start. So just the pressure of that, I think, was felt by everyone, on every level. And the other thing I would say was incredibly hard, was just trying to do something of this scope and size, and, quite truthfully, in Los Angeles. It’s an expensive city to shoot in. These things don’t come cheap, and we didn’t want to do it if we couldn’t give it the scope that it really deserves.
There’s a leaked email from a Marvel executive a few years ago essentially saying, “this is why female superheroes don’t work,” and it listed three examples of ones that didn’t work over a long history of time. What was your take on that?
Berlanti: It’s on us to make a great show. If we make a good show, I think people are really excited and interested in having a female lead at the center of one of these shows. I’m not even sure I was as aware of the desire for this until actually after we started making it. The kind of response I’ve had for that—from male and female parents wanting their kids, boy and girl, to have a hero like this in TV or movies. So I’ve definitely noticed a real desire for that when we’ve been doing.
Has everyone in the industry really been supportive, or has anyone privately said, “This could be tougher to sell”?
Berlanti: Honestly, not a single studio or network person has worried about the show’s success or failure based on her gender. If people worry about the success or failure of the show, it’s based on are we doing a good job making it. And that’s where the pressure should be. There were moments where Supergirl gets a thrashing in the pilot, where if a man in the Flash or Arrow pilot got beat up, people didn’t visibly wince. And I watched in testing, people in the audience really became uncomfortable by the fisticuffs and the action. But then, they were elated and cheering at the end. And you can’t have one without the other. We always check ourselves to really make sure we’re not changing an element of the story or production based on the gender of this character. We try to be extra vigilant about it. Also, the majority of the executives on the project are women. In my gut, we’ve crossed that threshold, and the audience is going to be equally engaged by this thing if we do a good job making it.
At the same time, is there a certain amount of pressure. Like, if Supergirl doesn’t work, then will say that says something—unfairly so—about the potential success of female-driven superhero shows.
Berlanti: I feel a tremendous amount of pressure whenever we have a character that we’re doing that the audience has a lot of familiarity with anyway. Nobody wants to screw up a Supergirl or a Superman show. I’m sure they felt the same pressure back doing Smallville, or Lois and Clark. You’re a part of a larger thing, and so we already kind of feel that kind of pressure of making sure that it’s really good and that it can live within the really esteemed kind of canon of these stories..
Adler: If we had a female president, I don’t think we’d be going, “There’s our female president,” we’d just go, “There’s our president.” Maybe the first day in office we’ll talk about that, and after that, she just needs to prove her worth. You start watching it like it’s a female superhero, and then she’s just a powerful person.
It’s become a bit of a social media minefield—as Joss Whedon discovered with Black Widow in Age of Ultron — that if you make a perceived misstep with a female superhero character, you could be in for the biggest backlash of your career. And it’s partly because — as Mark Ruffalo pointed out — there are so few of them, so fans feel more protective of how they’re portrayed.
Berlanti: I’m anxious for the day when there isn’t any unfair scrutiny. But we welcome any kind of conversation anybody wants to have about the characters. I think if you work in this space, and you’re lucky enough to do characters that are really well known, there’s always going to be a lot of conversation about something, and you always hope that people give you enough time to discover what the best version of the show is. That’s true, on our end, it’s true of any TV show we do. It takes a little bit of time to figure out what works best, and all our shows have a learning curve to them, and all the shows we do hopefully get better as we go along.
Adler: I think there’s going to be our learning curve and then a teaching curve. We can’t just paint with two colors. I think Kara is very dimensional, which is exciting for us. Superman, at least in the comic books is, to me, less interesting, because his range of emotion can only be … he’s an autonomous guy. So because Kara has friends, and this wider range of emotion, she has a different origin story, and grew up on Krypton, she knows two worlds, she’s just got a wider range of emotions we get to use.
Somebody told me Supergirl was Warner Bros. most expensive TV pilot ever?
Berlanti: I don’t know. It’s the equivalent of after you have a baby, not remembering how hard the birth was. If I really sat around and remembered the cost of these things, I’m not sure I’d ever have the gumption to do one again. We definitely felt supported throughout.
It’s always tricky when you have a really expensive pilot, and then you have to do a regular episode every week. Is there any concern in terms of keeping the high production values beyond the pilot?
Adler: I will say that the second episode is as big, if not bigger, than the pilot. So I don’t necessarily think money always translates to the largeness.
One aspect everyone seems to praise is series star Melissa Benoist. It keeps being hinted to me that somebody was reluctant about her initially, and that’s why her audition process dragged out. What was the hesitation that she had to overcome?
Berlanti: It wasn’t so much a hesitation as much as it was everyone wanting to… When we do this audition process on our end—just so you know, because I think nobody realizes this—we see a thousand people. But then we only submit to the studio and the network the people that we like out of those people, because you don’t want to submit someone you don’t want, because you could get stuck with them. They didn’t, nobody at the studio or the network level had the benefit of seeing a thousand people like we did. And so I think—I wouldn’t even call it a hesitancy as much as it was everyone, the way I would describe it is, everyone just wanted to be sure. They knew that this was the most important decision that we would make, it was more important that the money we would spend on it. They have these pictures in the comics of a massive wave of a blonde mane, and she’s been drawn different throughout the years, with an emphasis on her chest, or legs. If Whereas if you’re casting Superman, everyone’s going to go like, “How much does he remind you of Christopher Reeve?” But we had an idea, just from the storytelling in the script, of who inspired us and who we wanted to write for. So I think the vetting process was totally to be expected. The studio, the network, asked for Melissa to do multiple scenes because they wanted to be sure. But the second everybody was sure, everybody was ecstatic. I always think the audition process is such a great indicator of the person in the part because her energy and spirit throughout the auditioning process told us that she’s going to have the joy and the exuberance and the stamina to do the show itself. We ended finishing the script even with her voice in our heads because we had a good sense that she was the girl.
I thought one of the smartest things you guys did was having the little speech about the “girl” vs. “woman” in the pilot and then putting that in the trailer and getting out ahead on that just as it was starting to people were starting to brew online with being critical of that element. You reclaimed the issue and reframed it. Whose idea was that, and can you talk about the strategy to get out there months before the show aired?
Berlanti: That was my idea even before the pitch. That speech was in our pitch for the show. One of my golden rules about these things, is I don’t want to do a Supergirl show and then call it something else and make it something else. I want it to be what it. It’s hard enough trying to make these things what they deserve to be, let alone try to make them something different, and I knew sometimes the corporate people and executives can get nervous or scared about certain things. It’s called Supergirl and so people are going to wonder how that’s not too young for a broader network [like CBS]. One of the most valuable things about it is the name, so we wanted to have the conversation that we felt the audience would have.
Another step was the costume, which is sort of a trap. If it’s sexy, that’s bad. But if it’s unattractive, that’s bad too. What were some of the thoughts being thrown around the room when you were trying to figure it out?
Adler: We got [designer] Colleen Atwood, who’s so inspired and brilliant and came in with so much thoughtfulness behind the suit. She talked about being inspired by Kryptonian wear. The belt that Kara wears is the same as her mother’s. Then there’s this modern thumb-strap to tamp down the sleeves. There was this functional quality that the boots are flats. With other female superheroes — you can’t run down the street and punch someone if you’re holding up your top. So there absolutely was this functional quality.
The version that leaked on BitTorrent was, from what I’m told, a higher resolution than anyone peripherally involved in the show actually had access to, leading some to think that it must have been deliberately leaked as a way of generating interest in the show since The Flash did so well after that pilot leaked. Was this a strategy?
Berlanti: Oh my god, no, no, no it wasn’t. I’m pretty open-book about that stuff. I’m always excited when people are enthusiastic about the shows and for more people to be talking about the shows. But I feel like when people watch stuff that way, it’s like going to a restaurant and leaving before you pay the bill. I see how hard the crew and everybody are working on the show, to make these shows, and they have families, and people have to pay bills.
What was your reaction when you saw that it leaked?
Berlanti: I get upset, and I write the studio and the network, and we talk to legal, and we talk to press and publicity about where it may have come from. Everybody is investigated. It’s no small deed. And then at some point over the next couple of days, I kind of relax about it and just kind of let the chips fall where they may, because there’s nothing I can do about it. We so closely guarded with the script. People in the auditioning process had to come to our office to read it. By the end of the day, there’s so many other things for me to worry about, I try to focus on what I can control. This happened last year on Flash, it got leaked, we put some extra time in the show, so the audience that saw it on air saw a couple different things they hadn’t seen in the show. We try and do stuff like that.
Another thing beyond your control was SNL’s Black Widow parody that came out the same time as the trailer. What was your reaction to seeing that, and the romcom comparisons being made?
Berlanti: I think it had come out a week or two before. I thought, “Oh gosh, maybe there really is a need for something like this if they’re already making a skit about it.” Clearly people are wanting to talk about why there’s not more female heroes represented. And then in terms comparing our trailer to the parody, I had no concerns about that, because I knew how much action we had in this. We had a meeting where CBS showed us all the different commercials that they have coming out for the show, and there’s commercials that promote the sister relationship, there are commercials that promote the alien element, there are commercials that promote the workplace comedy. And what was great with each one of those things were valid, because the show is all those different things.
Every reporter asks if Supergirl will crossover with your CW shows. To me it’s a silly question, because of course you’re going to do it—it’s just a matter of how long you wait before you do it. So my question is: Will there be any kind of crossover acknowledgement possible with the Batman vs. Superman film, like Agents of SHIELD does with the Marvel movies? I’m wondering if that’s possible or whether, due to the corporate mechanics of it, it’s just not going to happen.
Berlanti: What I’ll say about the network element crossover is what I always say, which is, “Never say never.” And then in terms of the connection to the feature side, we are writing a Superman who is not the same as the one that’s represented in the film. So we have nothing to do with them, because we reference him quite a bit on our show in different ways, and my sense of it doesn’t line up with that film. Ours is a different Superman.
http://www.ew.com/article/2015/10/05/su ... d87c0ce399
Por James Hibberd 19 Oct, 2015
With Supergirl taking flight on CBS tonight we sat with executive producers Greg Berlanti (Arrow, The Flash) and Ali Adler (Glee, Chuck) to ask some of our burning questions, particularly about the politics of making broadcast’s first female-driven costumed superhero show on Big 4 network in decades.
Entertainment Weekly: What was specifically the hardest thing about making this show?
Greg Berlanti: I think I would say twofold: One was the stress of making sure that we had the right Supergirl. These things are incredibly cast-dependent, and if we don’t have that right person, you’re done even before you start. So just the pressure of that, I think, was felt by everyone, on every level. And the other thing I would say was incredibly hard, was just trying to do something of this scope and size, and, quite truthfully, in Los Angeles. It’s an expensive city to shoot in. These things don’t come cheap, and we didn’t want to do it if we couldn’t give it the scope that it really deserves.
There’s a leaked email from a Marvel executive a few years ago essentially saying, “this is why female superheroes don’t work,” and it listed three examples of ones that didn’t work over a long history of time. What was your take on that?
Berlanti: It’s on us to make a great show. If we make a good show, I think people are really excited and interested in having a female lead at the center of one of these shows. I’m not even sure I was as aware of the desire for this until actually after we started making it. The kind of response I’ve had for that—from male and female parents wanting their kids, boy and girl, to have a hero like this in TV or movies. So I’ve definitely noticed a real desire for that when we’ve been doing.
Has everyone in the industry really been supportive, or has anyone privately said, “This could be tougher to sell”?
Berlanti: Honestly, not a single studio or network person has worried about the show’s success or failure based on her gender. If people worry about the success or failure of the show, it’s based on are we doing a good job making it. And that’s where the pressure should be. There were moments where Supergirl gets a thrashing in the pilot, where if a man in the Flash or Arrow pilot got beat up, people didn’t visibly wince. And I watched in testing, people in the audience really became uncomfortable by the fisticuffs and the action. But then, they were elated and cheering at the end. And you can’t have one without the other. We always check ourselves to really make sure we’re not changing an element of the story or production based on the gender of this character. We try to be extra vigilant about it. Also, the majority of the executives on the project are women. In my gut, we’ve crossed that threshold, and the audience is going to be equally engaged by this thing if we do a good job making it.
At the same time, is there a certain amount of pressure. Like, if Supergirl doesn’t work, then will say that says something—unfairly so—about the potential success of female-driven superhero shows.
Berlanti: I feel a tremendous amount of pressure whenever we have a character that we’re doing that the audience has a lot of familiarity with anyway. Nobody wants to screw up a Supergirl or a Superman show. I’m sure they felt the same pressure back doing Smallville, or Lois and Clark. You’re a part of a larger thing, and so we already kind of feel that kind of pressure of making sure that it’s really good and that it can live within the really esteemed kind of canon of these stories..
Adler: If we had a female president, I don’t think we’d be going, “There’s our female president,” we’d just go, “There’s our president.” Maybe the first day in office we’ll talk about that, and after that, she just needs to prove her worth. You start watching it like it’s a female superhero, and then she’s just a powerful person.
It’s become a bit of a social media minefield—as Joss Whedon discovered with Black Widow in Age of Ultron — that if you make a perceived misstep with a female superhero character, you could be in for the biggest backlash of your career. And it’s partly because — as Mark Ruffalo pointed out — there are so few of them, so fans feel more protective of how they’re portrayed.
Berlanti: I’m anxious for the day when there isn’t any unfair scrutiny. But we welcome any kind of conversation anybody wants to have about the characters. I think if you work in this space, and you’re lucky enough to do characters that are really well known, there’s always going to be a lot of conversation about something, and you always hope that people give you enough time to discover what the best version of the show is. That’s true, on our end, it’s true of any TV show we do. It takes a little bit of time to figure out what works best, and all our shows have a learning curve to them, and all the shows we do hopefully get better as we go along.
Adler: I think there’s going to be our learning curve and then a teaching curve. We can’t just paint with two colors. I think Kara is very dimensional, which is exciting for us. Superman, at least in the comic books is, to me, less interesting, because his range of emotion can only be … he’s an autonomous guy. So because Kara has friends, and this wider range of emotion, she has a different origin story, and grew up on Krypton, she knows two worlds, she’s just got a wider range of emotions we get to use.
Somebody told me Supergirl was Warner Bros. most expensive TV pilot ever?
Berlanti: I don’t know. It’s the equivalent of after you have a baby, not remembering how hard the birth was. If I really sat around and remembered the cost of these things, I’m not sure I’d ever have the gumption to do one again. We definitely felt supported throughout.
It’s always tricky when you have a really expensive pilot, and then you have to do a regular episode every week. Is there any concern in terms of keeping the high production values beyond the pilot?
Adler: I will say that the second episode is as big, if not bigger, than the pilot. So I don’t necessarily think money always translates to the largeness.
One aspect everyone seems to praise is series star Melissa Benoist. It keeps being hinted to me that somebody was reluctant about her initially, and that’s why her audition process dragged out. What was the hesitation that she had to overcome?
Berlanti: It wasn’t so much a hesitation as much as it was everyone wanting to… When we do this audition process on our end—just so you know, because I think nobody realizes this—we see a thousand people. But then we only submit to the studio and the network the people that we like out of those people, because you don’t want to submit someone you don’t want, because you could get stuck with them. They didn’t, nobody at the studio or the network level had the benefit of seeing a thousand people like we did. And so I think—I wouldn’t even call it a hesitancy as much as it was everyone, the way I would describe it is, everyone just wanted to be sure. They knew that this was the most important decision that we would make, it was more important that the money we would spend on it. They have these pictures in the comics of a massive wave of a blonde mane, and she’s been drawn different throughout the years, with an emphasis on her chest, or legs. If Whereas if you’re casting Superman, everyone’s going to go like, “How much does he remind you of Christopher Reeve?” But we had an idea, just from the storytelling in the script, of who inspired us and who we wanted to write for. So I think the vetting process was totally to be expected. The studio, the network, asked for Melissa to do multiple scenes because they wanted to be sure. But the second everybody was sure, everybody was ecstatic. I always think the audition process is such a great indicator of the person in the part because her energy and spirit throughout the auditioning process told us that she’s going to have the joy and the exuberance and the stamina to do the show itself. We ended finishing the script even with her voice in our heads because we had a good sense that she was the girl.
I thought one of the smartest things you guys did was having the little speech about the “girl” vs. “woman” in the pilot and then putting that in the trailer and getting out ahead on that just as it was starting to people were starting to brew online with being critical of that element. You reclaimed the issue and reframed it. Whose idea was that, and can you talk about the strategy to get out there months before the show aired?
Berlanti: That was my idea even before the pitch. That speech was in our pitch for the show. One of my golden rules about these things, is I don’t want to do a Supergirl show and then call it something else and make it something else. I want it to be what it. It’s hard enough trying to make these things what they deserve to be, let alone try to make them something different, and I knew sometimes the corporate people and executives can get nervous or scared about certain things. It’s called Supergirl and so people are going to wonder how that’s not too young for a broader network [like CBS]. One of the most valuable things about it is the name, so we wanted to have the conversation that we felt the audience would have.
Another step was the costume, which is sort of a trap. If it’s sexy, that’s bad. But if it’s unattractive, that’s bad too. What were some of the thoughts being thrown around the room when you were trying to figure it out?
Adler: We got [designer] Colleen Atwood, who’s so inspired and brilliant and came in with so much thoughtfulness behind the suit. She talked about being inspired by Kryptonian wear. The belt that Kara wears is the same as her mother’s. Then there’s this modern thumb-strap to tamp down the sleeves. There was this functional quality that the boots are flats. With other female superheroes — you can’t run down the street and punch someone if you’re holding up your top. So there absolutely was this functional quality.
The version that leaked on BitTorrent was, from what I’m told, a higher resolution than anyone peripherally involved in the show actually had access to, leading some to think that it must have been deliberately leaked as a way of generating interest in the show since The Flash did so well after that pilot leaked. Was this a strategy?
Berlanti: Oh my god, no, no, no it wasn’t. I’m pretty open-book about that stuff. I’m always excited when people are enthusiastic about the shows and for more people to be talking about the shows. But I feel like when people watch stuff that way, it’s like going to a restaurant and leaving before you pay the bill. I see how hard the crew and everybody are working on the show, to make these shows, and they have families, and people have to pay bills.
What was your reaction when you saw that it leaked?
Berlanti: I get upset, and I write the studio and the network, and we talk to legal, and we talk to press and publicity about where it may have come from. Everybody is investigated. It’s no small deed. And then at some point over the next couple of days, I kind of relax about it and just kind of let the chips fall where they may, because there’s nothing I can do about it. We so closely guarded with the script. People in the auditioning process had to come to our office to read it. By the end of the day, there’s so many other things for me to worry about, I try to focus on what I can control. This happened last year on Flash, it got leaked, we put some extra time in the show, so the audience that saw it on air saw a couple different things they hadn’t seen in the show. We try and do stuff like that.
Another thing beyond your control was SNL’s Black Widow parody that came out the same time as the trailer. What was your reaction to seeing that, and the romcom comparisons being made?
Berlanti: I think it had come out a week or two before. I thought, “Oh gosh, maybe there really is a need for something like this if they’re already making a skit about it.” Clearly people are wanting to talk about why there’s not more female heroes represented. And then in terms comparing our trailer to the parody, I had no concerns about that, because I knew how much action we had in this. We had a meeting where CBS showed us all the different commercials that they have coming out for the show, and there’s commercials that promote the sister relationship, there are commercials that promote the alien element, there are commercials that promote the workplace comedy. And what was great with each one of those things were valid, because the show is all those different things.
Every reporter asks if Supergirl will crossover with your CW shows. To me it’s a silly question, because of course you’re going to do it—it’s just a matter of how long you wait before you do it. So my question is: Will there be any kind of crossover acknowledgement possible with the Batman vs. Superman film, like Agents of SHIELD does with the Marvel movies? I’m wondering if that’s possible or whether, due to the corporate mechanics of it, it’s just not going to happen.
Berlanti: What I’ll say about the network element crossover is what I always say, which is, “Never say never.” And then in terms of the connection to the feature side, we are writing a Superman who is not the same as the one that’s represented in the film. So we have nothing to do with them, because we reference him quite a bit on our show in different ways, and my sense of it doesn’t line up with that film. Ours is a different Superman.
http://www.ew.com/article/2015/10/05/su ... d87c0ce399
- Benoist y los productores ejecutivos se abren sobre los villanos de "Supergirl", el misterio que rodea su origen y más (CBR):
Benoist y los productores ejecutivos se abren sobre los villanos de "Supergirl", el misterio que rodea su origen y más
Por Meagan Damore 19 Oct, 2015
"Supergirl" executive producers Greg Berlanti, Andrew Kreisberg and Ali Adler as well as star Melissa Benoist weighed in on the show's big bad, female friendships, the mystery surrounding the character's origin and more during a new interview.
"We always have a traditional big bad for the season, the sort of uber villain who is setting the plan in motion," Kreisberg explained. "Just like with the other shows, there will also be villains of the week… the pilot sort of sets up the idea there was an alien prison from Krypton that crash landed on earth and all of the prisoners escaped. We're going to be meeting some of those alien villains."
"There will also be some human villains," he added. "We've announced that the Toyman is going to be appearing on the show. Additionally, we have some major Kryptonian villains who are going to be big bads of this season."
"I think it's a little bit of a collective mistake that Kryptonite is the only thing that can hurt a Kryptonian," Berlanti continued. "In the comic books, especially other adaptations, like the 'Superman the Animated Series,' Superman himself can be hurt by a lot more than Kryptonite. On the show, [Supergirl] fights Livewire, who has electrical powers… she has enough electricity to stop Supergirl's heart. There are other things on the show that are beyond just Kryptonite. On the old series, unless you had a rock of Kryptonite, it was pretty much lights out for the bad guy, and we certainly didn't want that. We always want to feel our hero is in jeopardy."
When asked how Kara's powers would develop, he responded, "I think our collective gut is that she's very much just at the beginning of our journey. Even the stuff she thinks she knows will come into question. Not just about her powers but also about her backstory and where she comes from. There's always a bit of mystery around her origins and also just around what her capacities are."
Adler also brought up what Benoist has brought to the character, saying, "What we've also found is all the attributes that Melissa has, that Supergirl has -- strength and courage and hope and positivity -- are very genderless. Ultimately, we hope to inspire men and women out there."
In the pilot and some of the TV spots, Calista Flockhart's Cat Grant makes a speech declaring her reasons for dubbing Kara Supergirl, which generated some controversy. Berlanti addressed that, explaining, "That speech was in the original pitch for the show. One thing I've found in doing this is sometimes the temptation is there by executives to alter things that are part of the DNA of what was so great about the comic book. We really wanted to be protective of the name of the show. We wanted to have a conversation with our characters that we believe the audience would be having and that others might be having in terms of saying, 'Well, she's an adult woman. Why isn't she called Superwoman?' That was the origin of it, and it was pretty much always in existence."
As to whether or not the comics influenced her portrayal, Benoist said, "I read some of them, I read some of the New 52, but also what I love about what Ali, Greg and Andrew and Sarah have created is that I truly feel like we are making the modern 2015 version of her. I wanted to know the world, but I wanted to separate myself from it a little bit to really make her my own."
"We always talk about this character as if she did not have superpowers, so how she approaches any given situation if she was just like you or I, and then she has this bonus skillset. That's how we really look at each villain of the week or her emotional life, her romantic life -- you don't want to heat vision the guy that isn't paying attention to you… we look at it from the perspective of being powerless and what her powers bring to it," Adler explained.
Berlanti also addressed the show's positivity and how they plan to maintain it in a world littered with dark, gritty superheroes. "I think Superman has always been more than just a hero. He's been an inspiration and a beacon of hope and something to aspire to. We're certainly guilty of putting a very dark hero on TV in 'Arrow.' There is something about Supergirl that just represents the light and the hope and the people. It's important for our times and important for our world. It's so tied into the character… We've really embraced that."
"She's also going to become friends with Lucy Lane, played by Jenna Dewan-Tatum," he revealed. "She comes to the show as a former love interest of Jimmy's to add some complications. Part of the fun of it is Kara being the nicest person in the world, that Lucy really likes her. The two of them have some adventures together."
The show centers on Kara Zor-El, a Kryptonian stranded on Earth following the destruction of her home planet Krypton. Assuming the name Kara Danvers, she decides to come out of hiding at the age of 24 and really use her super abilities for good.
"Supergirl" arrives on CBS on October 26 at 8:30 p.m. EST. Developed by producers Greg Berlanti, Adler and Kreisberg, the series stars Benoist, Calista Flockhart, David Harewood and Chyler Leigh.
http://www.comicbookresources.com/artic ... rigin-more
Por Meagan Damore 19 Oct, 2015
"Supergirl" executive producers Greg Berlanti, Andrew Kreisberg and Ali Adler as well as star Melissa Benoist weighed in on the show's big bad, female friendships, the mystery surrounding the character's origin and more during a new interview.
"We always have a traditional big bad for the season, the sort of uber villain who is setting the plan in motion," Kreisberg explained. "Just like with the other shows, there will also be villains of the week… the pilot sort of sets up the idea there was an alien prison from Krypton that crash landed on earth and all of the prisoners escaped. We're going to be meeting some of those alien villains."
"There will also be some human villains," he added. "We've announced that the Toyman is going to be appearing on the show. Additionally, we have some major Kryptonian villains who are going to be big bads of this season."
"I think it's a little bit of a collective mistake that Kryptonite is the only thing that can hurt a Kryptonian," Berlanti continued. "In the comic books, especially other adaptations, like the 'Superman the Animated Series,' Superman himself can be hurt by a lot more than Kryptonite. On the show, [Supergirl] fights Livewire, who has electrical powers… she has enough electricity to stop Supergirl's heart. There are other things on the show that are beyond just Kryptonite. On the old series, unless you had a rock of Kryptonite, it was pretty much lights out for the bad guy, and we certainly didn't want that. We always want to feel our hero is in jeopardy."
When asked how Kara's powers would develop, he responded, "I think our collective gut is that she's very much just at the beginning of our journey. Even the stuff she thinks she knows will come into question. Not just about her powers but also about her backstory and where she comes from. There's always a bit of mystery around her origins and also just around what her capacities are."
Adler also brought up what Benoist has brought to the character, saying, "What we've also found is all the attributes that Melissa has, that Supergirl has -- strength and courage and hope and positivity -- are very genderless. Ultimately, we hope to inspire men and women out there."
In the pilot and some of the TV spots, Calista Flockhart's Cat Grant makes a speech declaring her reasons for dubbing Kara Supergirl, which generated some controversy. Berlanti addressed that, explaining, "That speech was in the original pitch for the show. One thing I've found in doing this is sometimes the temptation is there by executives to alter things that are part of the DNA of what was so great about the comic book. We really wanted to be protective of the name of the show. We wanted to have a conversation with our characters that we believe the audience would be having and that others might be having in terms of saying, 'Well, she's an adult woman. Why isn't she called Superwoman?' That was the origin of it, and it was pretty much always in existence."
As to whether or not the comics influenced her portrayal, Benoist said, "I read some of them, I read some of the New 52, but also what I love about what Ali, Greg and Andrew and Sarah have created is that I truly feel like we are making the modern 2015 version of her. I wanted to know the world, but I wanted to separate myself from it a little bit to really make her my own."
"We always talk about this character as if she did not have superpowers, so how she approaches any given situation if she was just like you or I, and then she has this bonus skillset. That's how we really look at each villain of the week or her emotional life, her romantic life -- you don't want to heat vision the guy that isn't paying attention to you… we look at it from the perspective of being powerless and what her powers bring to it," Adler explained.
Berlanti also addressed the show's positivity and how they plan to maintain it in a world littered with dark, gritty superheroes. "I think Superman has always been more than just a hero. He's been an inspiration and a beacon of hope and something to aspire to. We're certainly guilty of putting a very dark hero on TV in 'Arrow.' There is something about Supergirl that just represents the light and the hope and the people. It's important for our times and important for our world. It's so tied into the character… We've really embraced that."
"She's also going to become friends with Lucy Lane, played by Jenna Dewan-Tatum," he revealed. "She comes to the show as a former love interest of Jimmy's to add some complications. Part of the fun of it is Kara being the nicest person in the world, that Lucy really likes her. The two of them have some adventures together."
The show centers on Kara Zor-El, a Kryptonian stranded on Earth following the destruction of her home planet Krypton. Assuming the name Kara Danvers, she decides to come out of hiding at the age of 24 and really use her super abilities for good.
"Supergirl" arrives on CBS on October 26 at 8:30 p.m. EST. Developed by producers Greg Berlanti, Adler and Kreisberg, the series stars Benoist, Calista Flockhart, David Harewood and Chyler Leigh.
http://www.comicbookresources.com/artic ... rigin-more
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Descripción oficial del 1.03 "Fight or Flight":
- Nueva Still del 1.03 "Fight or Flight":
1.03 "Fight or Flight" (09-11-15): Los poderes de Supergirl se ponen a prueba cuando Reactron, uno de los formidables enemigos de Superman, llega a National City y apunta a la joven heroína. También, Cat planea exponer Supergirl. Peter Facinelli estrella invitada como el empresario tecnológico Maxwell Lord. Escrito por Michael Grassi y Rachel Shukert, con dirección de Dermott Downs.
http://www.comicbookmovie.com/fansites/ ... ycbm/news/?
http://www.comicbookmovie.com/fansites/ ... ycbm/news/?
- Nueva Still del 1.03 "Fight or Flight":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Nuevas imágenes bts de la S1 (19-27 Oct 2015):
(@DavidHarewood: 7 days to go!#Supergirl
@DavidHarewood: Final Checks. #@chy_leigh #Supergirl #cbs
@aliadler: Warner Brothers water tower has changed for the first time in 88 years! @gberlanti @andrewkreisberg @sarahsowitty @melissabenoist #supergirl
@aliadler: Amazing @MelissaBenoist changing the face of powerful gberlanti @AJKreisberg @SarahSoWitty @geoffjohnsdc
@melissabenoist: Such a crazy feeling. I mean really. Kara on the water tower at @warnerbrostv wFlash, Arrow and Gotham @dccomics
@karterhol: Some days R just awesome on @supergirlcbs Hanging w insanely talented @LauraBenanti #SheRocks
@chy_leigh: the lovely @melissabenoist and I are #superexcited for the #Supergirl premier this coming Monday, October 26 at 830pm on @cbstv Right after #BigBangTheory ... How lucky are we?! Make sure you tune in. You don't want to miss this... #superbadass #supercast
@supergirlcbs: Today's Top Story Metropolis Has A Hero, Where's Ours #NationalCityTribune #Supergirl
@supergirlbenoist: looks like young Kara @MalinaWeissman is going to be learning how to fly
@davidharewood: ...Meanwhile at the DEO. #Supergirl #Henshaw #Danvers #AgentsofDEO
@davidharewood: ...4 days.
@davidharewood: Late night shooting at the DEO.#Supergirl
@Karterhol Director: @ThorFreudenthal & @DavidHarewood at work @supergirlcbs is coming! @MelissaBenoist #UpUpAndAway
@Karterhol: Night duty at the #DEO @supergirlcbs is coming! #UpUpAndAway @MelissaBenoist @chy_leigh @DavidHarewood
@aliadler: #Supergirl PREMIERES TOMORROW! #behindthescenes #superpeople
@aliadler: Premiere of #Supergirl #behindthescenes #superpeople pilot director @glenwinter @melissabenoist
@aliadler: Flashback to camera test day #Supergirl #superpeople #behindthescenes @gberlanti #calistaflockhart @melissabenoist
@karterhol: Great work @MelissaBenoist You really are #Supergirl @supergirlcbs @DavidHarewood @chy_leigh
@karterhol: Pre screening of @supergirlcbs w @DavidHarewood #Supergirl @MelissaBenoist @chy_leigh
@mehcadbrooks: Wish I could watch #supergirl with you guys live but I'm putting in work to make sure you contiune to love it. #jimmyolsen #newolsen
@DavidHarewood: An actor prepares
@aliadler: #supergirl #behindthescenes @owainyeoman #vartox pilot pic!
@karterhol: Happy cast day after @supergirlcbs premiere!
@karterhol: Look who came by #HenryCzerny comes to @supergirlcbs)
- Nuevas promos de la S1:
(@DavidHarewood: 7 days to go!#Supergirl
@DavidHarewood: Final Checks. #@chy_leigh #Supergirl #cbs
@aliadler: Warner Brothers water tower has changed for the first time in 88 years! @gberlanti @andrewkreisberg @sarahsowitty @melissabenoist #supergirl
@aliadler: Amazing @MelissaBenoist changing the face of powerful gberlanti @AJKreisberg @SarahSoWitty @geoffjohnsdc
@melissabenoist: Such a crazy feeling. I mean really. Kara on the water tower at @warnerbrostv wFlash, Arrow and Gotham @dccomics
@karterhol: Some days R just awesome on @supergirlcbs Hanging w insanely talented @LauraBenanti #SheRocks
@chy_leigh: the lovely @melissabenoist and I are #superexcited for the #Supergirl premier this coming Monday, October 26 at 830pm on @cbstv Right after #BigBangTheory ... How lucky are we?! Make sure you tune in. You don't want to miss this... #superbadass #supercast
@supergirlcbs: Today's Top Story Metropolis Has A Hero, Where's Ours #NationalCityTribune #Supergirl
@supergirlbenoist: looks like young Kara @MalinaWeissman is going to be learning how to fly
@davidharewood: ...Meanwhile at the DEO. #Supergirl #Henshaw #Danvers #AgentsofDEO
@davidharewood: ...4 days.
@davidharewood: Late night shooting at the DEO.#Supergirl
@Karterhol Director: @ThorFreudenthal & @DavidHarewood at work @supergirlcbs is coming! @MelissaBenoist #UpUpAndAway
@Karterhol: Night duty at the #DEO @supergirlcbs is coming! #UpUpAndAway @MelissaBenoist @chy_leigh @DavidHarewood
@aliadler: #Supergirl PREMIERES TOMORROW! #behindthescenes #superpeople
@aliadler: Premiere of #Supergirl #behindthescenes #superpeople pilot director @glenwinter @melissabenoist
@aliadler: Flashback to camera test day #Supergirl #superpeople #behindthescenes @gberlanti #calistaflockhart @melissabenoist
@karterhol: Great work @MelissaBenoist You really are #Supergirl @supergirlcbs @DavidHarewood @chy_leigh
@karterhol: Pre screening of @supergirlcbs w @DavidHarewood #Supergirl @MelissaBenoist @chy_leigh
@mehcadbrooks: Wish I could watch #supergirl with you guys live but I'm putting in work to make sure you contiune to love it. #jimmyolsen #newolsen
@DavidHarewood: An actor prepares
@aliadler: #supergirl #behindthescenes @owainyeoman #vartox pilot pic!
@karterhol: Happy cast day after @supergirlcbs premiere!
@karterhol: Look who came by #HenryCzerny comes to @supergirlcbs)
- Nuevas promos de la S1:
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!
Re: "SUPERGIRL", nueva serie en la CBS
- Stills oficiales del 1.02 "Stronger Together":
¡¡¡¡AY, OMÁ QUÉ CALORES!!!! ¡Gracias por tu regalo, Nitta!