Jon Favreau Interview on the Set of IRON MAN

     March 31, 2008




Back in June of ’07 I was able to go to the set of “Iron Man.” I just posted a report of what I saw, and now you can read an interview with Robert Downey Jr. from the set of the movie. As always, if you’d like to listen to the audio of the interview click here.


While many other sites like to say they were the only ones there when posting an interview, let me be very clear…this interview was conducted with around 12 or 15 other online journalists. So if you see this interview on other sites….that’s the reason.Sorry, it’s a major pet peeve of mine when sites like to say they’re the only ones there.



And about the interview…remember, this was conducted before any trailer was online and before Comic-Con. This was before anyone knew if the movie would be good or bad. As you read the interview or listen to the audio, you can hear a quiet confidence. It’s a great interview. Enjoy.





Jon Favreau: This is like an Austin Powers plot. Now that I have you all in one room I’m going to seal the doors and keep everything a secret.



Question: It’s kind of ironic that you’re shooting in Howard Hughes’ old plant.



Jon Favreau: I know. I know. That wasn’t lost on me. We figured we’d get some of the good spirit from the Hughes legacy here. Gather around. Get close.



Question: There was a mask on your blog yesterday that Iron Man is going to be PG-13?



Jon Favreau: A lot of times people say I make announcements, I’ll jump on the Iron Man movie group and if I see people talking about something or they have a question or they’re speculating I’ll clarify as best I could with pertinent information but I don’t really make announcements like that like here’s the big announcement the movie’s going to be PG-13. You don’t know but that’s what we’re all shooting for. So when people are speculating I think when Fantastic Four 2 was given a PG and people were surprised and wondering what we’d be I said I thought we’d be PG-13.



Question: What’s the reason for that?



Jon Favreau: Because you want it to be entertaining for everybody. You want it to be appropriate for kids but not geared towards kids and I think PG-13 is that good balance where you could have violence, you could have real life or death stakes, but yet it’s something that I’d feel comfortable bringing a younger than 13 year old kid to, but it’s tough. These types of movies, you want it to be good for the whole audience, for everybody, and if you skew too young you sometimes disappoint adults and if you make it too dark and too violent or too much explicit language or sexuality to it there’s a lot of kids out there that want to see this thing. I have a 6 year old who’s like dying to see the movie and I don’t want to see anything in there that’s going to make me as a responsible parent uncomfortable that he’s going to be repeating something in school or seeing something that’s going to freak him out too much.



Q: Is that why kept the alcoholism story out of the 1st one?



Jon Favreau: Me, honestly I’m sort of trying to really be dictated of the story of the books and so the demon in the bottle happened when…in the 80’s? It was much later and it started off in the 60’s so what you’re really grasp for it seems in success if you’re lucky enough to make more than 1 of these movies is what happens to the character, how does it change so it doesn’t feel like a serialized hero that goes through …fights different bad guys, how does he progress through each story? The good part about an origin story is you have the whole Joseph Campbell journey that the guy goes through in becoming a hero. The problem is you have so much story to tell that it starts to get clogged up with too much stuff and then you end up rushing through beats or villains or things. The problems with the 2nd and 3rd ones are you have great villains. Everybody knows who the guy is but how is he different from the endings—the beginnings and endings of the movie and for me as a film maker and a story teller I really look for that whole progression and character as the…what’s the mythology of this movie? What’s the myth that you’re telling and that’s what makes it entertaining I think.



What are the fights going to be like with that big iron suit? How does that change the way you film the big fights?



Jon Favreau: Well, as far as the technology you use, it’s pretty…you know, we really have all the options. We have ILM and after seeing the last Pirates movie I really feel quite comfortable that they could make it look good, you know. Then you have the Sam Winston suit that you have that to make it feel real and connect things and I think you have to do a bit of a shell game with the audience. Showing real in one shot, fake another shot and not let them know where one shot becomes real and digital until their left brain is so locked up worrying about it that their right brain can enjoy the movie.



I guess I mean a movie fight when he knocks the guy into a wall. How is that with the armor?



Jon Favreau: I think you always have to look for fancy things to do. I think you have to innovative in the action. There’s a lot of movies I saw and enjoyed where I couldn’t follow the story and didn’t give a damn about the story but because the action was so innovative it entertained me. I was excited by it. Honestly, these types of films you’re working on the action long before you’re working on the dialogue. You’re working with story board artists, with writers, with actors, producers, studios. Can we see if we can keep everybody quite over there who’s close by?



You mentioned that Iron Man is a unique hero in a way because he’s kind of a guy like Batman in a way but who creates himself, creates his own superpowers. Can you talk about what the story is about for you and the character?



Jon Favreau: Well, the story for me is about a guy who’s…I think in every movie there’s something rotten in Denmark. You know, you have to sort of start off with something’s out of balance in the world. In Marvel movies especially you look at the personal life of the character in the microcosm and then you sort of look at the macrocosm of the climate of the world. There’s a super villain doing something. There is a problem in the world that has to be fixed otherwise life as we know it will not exist. But then also in the character’s personal life, there is that sort of thing that happens too and what’s nice about Tony Stark is that he’s a guy that you have all the flash and glamour of Tony Stark, billionaire, inventor, genius and playboy and you get to play the fun of that but then you also get to explore what that might leave to be desired. How is he flawed? How does he grow and change through his captivity and when he comes back, how does he become Iron Man? What are those steps in the journey that gets us to the point where we understand who he is, what he stands for and how he’s changed?



Hey, Jon, can you tell us what the set is and what you’ve shot here already?



Jon Favreau: This is his…this is the beginnings and his workshop and the beginnings of what will be the hall of armor. This is below his house. We built a house that sits on the bluffs overlooking the Pacific up in Malibu, Point Dune and we have another set that we’re shooting on today that sort of sits above this sort of an architectural high tech home and this is his sub-basement, so out those windows you would see the Pacific Ocean. That’s a driveway up to the outside of his house. He has all of his…just these awesome cars, everything from a ’32 Ford Roadster all the way through a Tesla Electric Car. We have everything here lined up—a Selene super car. Just great, great cars. Shelby Cobra. Then over here is the remnants of what was a really well …everything you could possibly need for fabrication, design. You could build anything in here and this is area was more of a living area so this is just sort of where he would seclude himself and we sort of suggest that all of the innovations and inventions that come out of Stark’s mind usually start alone here as opposed to…you know he’s got his office—Stark Industries but this is probably where most of his work happens at 4 in the morning.



Can you talk about Obidiah Stane the casting of Jeff Bridges? It looks great, it’s pretty cool but do we see Iron Monger? Is he Iron Monger?



Jon Favreau: You’re going to wear that shirt and ask me if we see Iron Monger? You’re not getting enough information, is that the problem? You need just a little more to go on?



Jeff says that the relationship…he says the relationship is of a mentor. And we’re not going to be talking about this for a while as we’re under embargo …



Jon Favreau: Oh, you are? Here’s the bottom line—we’re making a Marvel movie and this is the first time Marvel is making it’s own movie. And so I feel also as a filmmaker I like to…I have a certain…I want to stay true to the books. But with these movies everybody’s watching for…I’ve been working on this thing for a year. It’s going to be another year before it’s out and if everybody figures everything out along the way, it gets to be…by the time you see the movie, you feel you saw the movie already. So, we try to put enough twists and turns and things in there to keep you guys…have something that you guys don’t know as we go forward. But by the same token because it’s Marvel, I want to stay as true to what the broad strokes of the comic books are. So is he a mentor to Tony Stark, yeah that’s sort of the relationship we found between Jeff Bridges and Robert Downey, that would be good. Is it still Obadiah Stane? Yes, it is. Are there certain expectations people might have that have read the comic books for several decades based on who it is? Are they going to be waiting for another shoe to fall? I think they probably will. And I think that we’re not going to change the universe so much that to the purist it will seem like we’ve betrayed the underlying truths of it… so if you’ve done your homework on the books it’s going to serve you well when you go into the movie because we’re doing it too.



Can you talk about the undertaking for you in terms of taking on all this action sequence which is a little different for you?



Jon Favreau: It is and we have a great 2nd unit. There’s a guy named Phil Neilson who’s directing 2nd unit probably as we speak. If you hear something blow up he’s probably on the other set blowing things up. We’ve been very, very lucky to have a group of people that are very good at developing and calling the action. I don’t want to sit here and pretend that I have a huge action experience. I think I can tell a good story. I think cinematically I can make something compelling. Matty Libatique is a great director of photography, but what I’m bringing to the table is more the humanity of the story. Enforcing rules on the story as well that where it doesn’t feel like 2 completely different films. There is the possibility that it goes from swingers to Power Rangers and everybody like what am I watching? The trick is to sort of bring up the human story to a world where it feels like it’s a comic book—it fits into the genre. And then keeping the action aspect of it, I wouldn’t say restrained but hold it up to a certain standard of reality that you have a broadness that you expect in a comic book movie but it’s not like just do whatever the hell you want because it’s a movie and everybody just wants to eat popcorn. So I have a certain…I think in my body of work I’ve held it to a certain standard. Now in making something that has to be appealing to a much larger audience then I’ve really hit before I want to make sure we’re giving everybody what they want and making it fun and exciting but also making it something I can be proud of.



Can you talk about what Robert Downey Jr. brings to it? He’s an unusual…



Jon Favreau: When we cast Robert, when he was approved and we got him to be in the movie and Marvel gave it it’s ok, it completely freed me because I knew that I was half-way there to having a movie that I could be proud of. I can’t think of anybody better than him. He brings a reality, a humor, a panache, you know, a life of experience where he really feels like what he’s brining to the table. There’s a lot of Tony Stark in him and it’s so much better than trying to teach somebody to pretend that they are funny or pretend they are smart, or pretend they are talented, or pretend that they’ve lived with fame and lived with all the challenges and benefits of it.



Jon, you yourself look a lot different than we saw you last. Has the job been that stressful?



Jon Favreau: Let’s put it this way. I’ve wanted to lose some weight for a role, yeah.



So it would be acting, not directing?



Jon Favreau: Yes, it’s for life and I just turned 40 and I just had a baby less than a year ago and I did the math and I said I’d better take care of myself because I want to be around.



You look great.



Jon Favreau: Thank you very much.



Can you talk a little bit about the fans? Are you hearing from them? Are they giving you notes?



Jon Favreau: Yeah, the fans are great.



Did they like the picture when they saw the picture?



Jon Favreau: They’ve been great about everything. They really have. It’s almost like…you almost want something to be a little … you want them to have a problem with something early on to get it out of the way. Fans for any movie is important. For this particular type of movie, that’s the nucleus of your audience. I don’t know if the Internet is something that could be seen as dictating the marketplace. I don’t understand how that works yet. I know that as a filmmaker I get the fans of this particular genre are very smart and know more in certain cases than the people that are working on the movie as far as how much and specific their information is. So I like to go there and get the menuche of the detail in certain cases because it’s a great…it’s like Wikipedia, you know, it’s a collection of information from a lot of people that tends to bear out in a very cogent way. There are certain people that are idiots but they’re not…they don’t tend to be drawn to this material that much. They tend to give a damn and most of the stuff I see is thank you for caring so much about it. I’ve been waiting for this movie for 20 years. I’ve been waiting for 10 years since I heard they were going to first make this. This was my particular favorite superhero and its nice to see it’s getting this type of treatment and this type of cast and when they first hear it’s made they get excited then they hear who you’re casting and they so oh, this might actually be one of those types of superhero movies not the other kind of superhero movie, you know.



In terms of telling stories, what lessons did you take from not just Marvel movies, but comic book movies in general?



Jon Favreau: I think Nolan is just really…reinvented the genre yet again. I really liked the first Batman movie—the Tim Burton one was very exciting but the caliber of cast he was able to get, the level of storytelling and acting and the sense of fun that was maintained with a character that I thought was completely picked over by the time they did their last movie before that. They were able to hit reset and come with that and make it fresh again excited me because it said that it sort of said to me that there’s…the sky’s the limit for who you could get and a filmmaker with that background it’s nice to have all these guys come out of independent films who are finding a way—who don’t resent big movies—it’s not like the 70’s where it’s like the system is keeping us down. We’re people who grew up loving movies and the reason we’re doing small movies is we don’t know any better or have the resources. So as you see Peter Jackson or Chris Nolan or you see Brian Singer—finding a way to bring integrity and a sense of fun to these big movies where you feel like you’re watching a good movie and it’s not one where the director is doing apologetically, they’re doing it because they love it and they’re excited by it. Then I get to play with all the toys, build the suits, do the CG, build all these great sets. For me that’s what it’s all about and I think it’s kind of the indy background where all you have is character. That’s your car chase. Your car chase is a funny scene, you car chase, your big explosion is 2 people having a conversation that’s interesting. It’s sort of sharpens those tools so by the time you have all these great story board artists and designers and CGI wizards coming in you’re not relying on that and you’re not just hammocking between those set pieces, you’re able to actually bring the same…when I’m here with Gwyneth and Robert I would be working with them the same way if I had written the spec script and was shooting it for a million bucks. You bring that same sensibility to it and hopefully, I don’t want to lie to you, like I know, I hope it all comes together in a way where it feels of one movie but yet it’s not insulting the smart people and it’s not inappropriate for me to bring my kids to as well.



continued on page 2 ————>


||SPLIT||



Can you talk about the design of the suit?



Jon Favreau: The Iron Man suit? We have some artists that we hired to work on it. Phil Saunders, Ryan Miterding had worked on various suits that we have. They’re people that I had met on Zathura and as I was developing John Carter of Mars. They’re great artists and they have a whole department overseen by Mike Reva who’s our production designer. I really gravitated towards the Adi Granoff stuff and Adi had actually contacted me though My Space because I’d set up a group. Actually even before the group when I put my thing up he contacted me to be my friend. He said I thought you might want to meet me. I’m the guy who designed all the drawings you have on your web site. I was like oh, I’d love to talk to you. Then he was really excited to get involved. We hired him to do some drawings for us. We flew him out here. He met with Phil and Ryan. He met with Phil and Ryan and Mike and the Stan Winston crew and we all sort of collaborated together in finding a suit that could be made practically to be worn so it wasn’t always you know, a cartoon. Also, when you have practical things it tends to keep the CG a little more honest because if you have to make a direct cut from a practical suit that you love how it looks to something virtual you now have a litmus test.



What was important to retain about the comic book suit in the movie?



Jon Favreau: The suit? The more that you could. I didn’t want to re-invent it. It’s not like the glowing Superman fiber optic suit. I really am embracing what it is and the best thing I heard was first we got the Mark 1 out which we took a little bit of leeway with because in the books it really doesn’t make sense that he would make that out of spare parts so but yeah we wanted to keep the personality of it and everybody was saying holy shit that’s so cool, but immediately we were like oh my god, what’s going to happen when they see the Mark 3, you know, and what happened when we showed the Mark 3 was this is great. It was just like I saw it in my head and that’s a very hard thing to achieve because everybody sees different shit in their head. It was just like in the head and then everybody was like oh that’s clearly a CG suit. Then all of a sudden I think it was on your thing, they saw the suit and a guy moving around with the suit on and wait a second it’s a real suit with a real guy. Of course it could do different stuff in CG than it can in real but that becomes the difficulty. You don’t want him moving around like Robocop and he flies through the air and he looks like Spider-Man. So that’s the balancing act that we’re playing, but we’ve got great people.



What’s the most challenging scene to shoot so far?



Jon Favreau: Scene to shoot? When we were at Edwards Air Force Base, that was great. We got to see C17’s and the Raptors and all the stuff that’s in Roadies, we made him an Air Force Lt. Colonel—took a bit of a leap there. But the logistics of that were very hard because there’s a lot of things you can’t point a camera at there and there’s a flight line and they’re testing state of the art experimental aircraft there, so you know all the stuff we are thinking we’ve got the best stuff. I mean there are hangars there that you can’t go near that I’m sure have stuff they’re flying around now.



Anything about this filmmaking process so far that’s surprising to you? Obviously you’ve got a background. You’ve done a lot of stuff.



Jon Favreau: I’m surprised I’m on schedule that’s the biggest surprise. I brag that I stay on schedule, I always have with every movie I’m been on. I’m always on budget, always on time, and I thought ok this one there’s going to be curve balls and so much out of my control so the fact that we’re on schedule now and the scenes have borne out well. I’m surprised also about the amount of freedom I’ve gotten from Marvel.



How so are you surprised?



Jon Favreau: Because there’s certain things that Marvel is very meticulous about and there’s a definite formula to the way action is done and then when it comes to the scenes between the people we have very good actors and Marvel has been very involved, but they’re a small crew you know you have Kevin Feige and you have Jeremy Latcham who are sort of our executives on the project and they’re here because Hulk hasn’t started yet. So we could sit in the trailer with the Marvel guys with the producers and the actors and talk about what the scenes should be based on what we’ve shot and what we’ve learned and there’s a flexibility of material so in a lot of ways there’s a lot of freedom to try things different ways, get what we know we need to get the story to work and then bring a certain humor sometimes or a humanity to it so there’s a real sense of freshness and discovery in this project.



Were you a bit leery going into this because you know it’s a Marvel and it’s their first film on their own essentially? Was there any concern at all?



Jon Favreau: I was ready for the challenge. I had done Zathura last. My last 2 experiences were developing John Carter of Mars which we did a bang up job. Beautiful artwork, these guys Ferguson Auspy did a great script for us and everybody loved it and they were just scared of that genre, or that material or the fact that they had Star Trek coming out next year or what it was and they said we don’t…but not only did they not green light it they let the rights lapse thinking that this was not a project that anybody would care to do then of course you know you have Brad Bird and Pixar and Lassiter thankfully picking it up and that thing is going to be huge and if they’re as true to the source material as we were when we were developing it they’re going to have a phenomenal movie between Star Wars and 300 and all that. This is like, this is the type of story you need to find to use the technology you have available today. Right across the road they’re doing Avatar over there. They’re doing a huge, huge movie in a room this size. That’s the new way of doing it. So I think they missed a tremendous opportunity with that but I’m glad it’s going to be made. Now, and the last experience before that was Zathura where we really worked hard. We got a movie that was well received but was not really supported in a way where…it was the best reviewed movie that Sony had that year and there wasn’t even one billboard up. They didn’t even print up posters, so it was very disappointing that we came in at the end of a long string of flops over there at Sony between Stealth and Zorro and everything they had and by the time we had come out they just were…there wasn’t a game plan I don’t think to release the film. Fortunately now it’s out on video and people are seeing it and liking it but I didn’t want that to happen again. I didn’t want it to fall through the cracks, so when you work with Marvel you know there is a fan base of core fans that are going to pay attention to what you’re doing. If you’re doing a good job, those fans will be very vocal and word will spread. Right now so many people try to virally create this sense of grassroots something on the Internet and they try to force it and you can’t force it. It has to come organically. When you do a movie like this you get to play with all the big toys and you have a fan base that is going to be very vocal positive or negative. If you have Catwoman they will put the pillow over the head of the movie and make sure it never sees the light of day; but if you have a Dark Knight or if you have any of the myriad of the quality movies that come out the word will get out there and people will start to pay attention. I think reviewers are not really paid that much attention to. I care about reviews. I like reviews but if you look at the correlation between reviews and box office, it doesn’t really correspond and I think people are looking at the Internet and to peers to hear what the buzz is and how the buzz is growing. Transformers is building a tremendous buzz now. I think regardless of the reviews it gets I think my kid wants to see the Transformers and I’m going to see it with my kid.



Jon, can you talk about the commercial pressure coming off Zathura? Do you feel like while you’re on the set that this one better be a hit?



Jon Favreau: What’s good is Elf sort of carved a path for me and Zathura…if Zathura had been a bad movie and not made money then I would have something to worry about. I think you always have to make a good movie. Even if the movie doesn’t perform there are people who are lining up to work with you saying they fucked up the marketing but you made a good movie. If you can make me a good movie, I’ll take care of my end of things. I don’t know if that’s ever been a director’s job to create a marketing campaign. I mean they do, you have a voice in it, but ultimately I think they just include you enough to make you feel like a part of the process so that you’ll hit up the actors to do what they…they can’t get an actor to go to Comic-Con. I could turn to Robert and say Comic-Con is fucking fun. It’s going to blow your mind. Wait until you see how many people give a shit about this movie. Wait until you walk into that room and see. And he’ll say really? And I’ll say it will be fun, let’s have a blast. We’ll go out to dinner, we’ll have a good time. We’ll walk the floor, bring your kids. I’ve done it 2 years in a row and my kids love it and San Diego is great. And they’ll go. Or to say hey let’s do this 1 extra interview. Let’s add another day to the press junket. Let’s fly to the premier here together. If the director says that and is excited about it and buys into what’s going on, I think the actors are more likely do what…I’m more likely to do press for the movie and that’s the type of thing you can’t buy with marketing money. I don’t think they really look to directors to lead the charge in ways other than participating. So the success of something…certainly success has a lot of benefits. It could keep a career going, it could make somebody very rich even if the quality isn’t very good if they’re successful. Success is always good but if it doesn’t end up being commercially successful it better be creatively successful. If you can’t do either of those you’re not going to work for a long time.



Jon, can you talk about the casting of Terrance Howard. He’s such a serious actor.



He’s is great. Terrance is somebody they were talking to him…Avi was talking to him even before I had been hired on. So by the time I had come in, he brought in Terrance and was…it’s hard to argue with casting. I mean Terrance…you know he could have been Tony Stark in a different…if we had gone a different way from the books. I think he’s got those type of chops. The idea with success of where do you go with these movies I think that’s where they fall short. People don’t think far enough into the future. They have a great movie and they say how do we do it again? That’s the difference between a sequel and a chapter. So looking at chapters, where do we go? You could go war machine with Terrance Howard and we want to. We could go a lot of different ways with this cast that we have.



Are you on-board for 3?



If the experience is as good as this for another one I would keep going. It’s hard to say because I’m sure Gore and Sam…I don’t know how excited they would be to do 4 after what they’ve been through. That journey in 10 years, but I would see working on this thing…I think it’s fun and great and hopefully it gets easier as it goes on as you get it down.



You talked about the quality of actors that you have and these people are very much in demand. How hard is it for you to get people back to do a 2 and a 3 or are they already locked into that?



Jon Favreau: I think if their experience is good which it has been so far based on what everybody’s told me, maybe they’ll say something different to you guys but I know I’ve made it fun. I’ve made it something where hopefully the work is as good a quality as they would on any movie so it doesn’t feel like they’re working on a movie that’s one for them. You know, one for the man. They do one for themselves and one for their career. I asked Robert, I said what do you want to do in your career now? He said I want to make movies that are good and that people are going to see. It seems very simple and it might not seem…but it’s a pretty profound statement. Actors want to be in movies that are good, that they’re proud of, but there’s nothing more frustrating than making a great movie that you know is a feature title on Netflix that oh, I really wanted to see that one. Or, you want to do a movie that going to be part of your culture. Pirates of the Caribbean—you reference that it’s like The Sopranos. Everybody knows what you’re talking about. You’ve seen it. You’ve impacted lives. You’ve created a cultural ripple and that something that you can’t get always with an indy. Sometimes it happens like with Swingers, but usually it doesn’t.



You talk about the buzz these films generate. This one is only going to get higher and higher as we get closer to the release date. How do you respond to this almost disproportionate obsessive reaction to a film and comic book type films.



Jon Favreau: I welcome it. I’m right in there. It’s not a scary, weird looming presence. I go online and look at stuff and I see what people are saying. Hell yeah, and what people are saying with what are you doing with this? People are confused about this and there are certain things they’re confused about that they want to be confused about and there are certain they’re confused about that they don’t want to be confused about. I don’t want to be confused about whether or not we hired somebody to score the film because they’re reading on IMDB that something happened. Or they think the rating is something else, or whether the suit was designed by this guy or that guy. I like to clarify and it’s a game you can play with the audience, but I think if they know that you care and you’re paying attention and there are choices that you’re making because you’re making them as a choice and not because you don’t know what you’re doing. They like it, so to me buzz is great. I would have killed for people to care this much about the last movie I was on. What you don’t want is to just disappear because you work so hard. We’ve worked 2 years on this movie. I’ve gone from a pregnant wife to a walking baby in the time it takes to make this movie and it’s a mind blower and if it …one bad weekend…you have everything on one dice roll. I love to have the interaction. I love to know they’re out there. I love to know after working a 14 hour day and things feel bleak and did I get everything I need, then you go online and you see people saying right on. Even if it’s a little thing, it’s a big deal man. It’s not easy doing this shit. I love it but it’s hard. It’s hard.



Have you gotten any advise from any other action directors or giving you some kind of…?



More like from Kevin Feige who’s been around for all the X-Men movies and now he’s president of production here. He’s really good at like this is what happens now. I’ve been on the set at Spider-Man 3 visiting Sam Ramey and just seeing certain things go so slow because they have to and certain things go really fast but you know not getting freaked out by when you have 400 people sitting around waiting for 1 guy to hang a light. Coming from independent films knowing how to pace it and do it because being on budget, being on time, I figured out how to do it but this movie…I don’t think I’ve ever been on sets like this. I mean I was in a small part in Batman Forever and I saw the Batcave and all that stuff. It was really cool, but Daredevil wasn’t like at this scale. Nothing I’ve been on has been of this scale, so just to walk around it is …and turn to Peter Billingsly and what are we shooting there? What set is that? And like oh, that’s the airplane. You know like oh that’s right. I don’t even know what’s going on and I take people and walk around and I show them around but it feels like the 1st time I’m seeing it sometimes.



Are you going to be doing dinner for 5?



Jon Favreau: We’re done right now. I’d like to. Who knows? Maybe after this I’ll want to do something really small like that.



Is Iron Man money?



Jon Favreau: Yes, he is. I hope. The jury is still out. We’ll find out.



Have you thought already a running time on this?



Jon Favreau: Yeah we’ve got…I don’t like long, long movies so it’s got to be realistic.



Over 2 hours?



Jon Favreau: I don’t mean over 2. I don’t know yet. The assembly will be but they always are. So we’ll knock it down. I want it to be a movie where you’re left wanting more as opposed to you know, you feel like you’re checking your watch and waiting to pee.



And I guess the last thing is what are you showing at Comic-Con?



Jon Favreau: We’re figuring it out now. We want to do something impressive. We’ll figure out what we’ve got. We’re definitely holding back a lot until then.






And if this interview wasn’t enough for you…here’s some links to interviews I did at last year’s Comic-Con for “Iron Man.



Jon Favreau Comic Con interview, Robert Downey Jr.Comic-Con interview, Kevin Feige – the President of Production at Marvel interview, Gwyneth Paltrowand Terrance Howard. Finally,if you want to see some images ofthe Mach 1 from Comic Con, click here.





Watch Now
Around The Web

Latest News