Man of Steel
14 Jun 2013
Henry Cavill said that the most difficult part of making the movie was definitely his two shirtless scenes. He had been training for months prior to filming began but for his shirtless scenes, he specially went on extremely difficult calorie restriction diet and training regimen that cut his calorie intake from 5000 to near 1500 for 6 weeks. After 6 weeks he reached a body fat level of just 7% which is the level achieved by professional body-builders during competitions. Henry said this was done because he wanted to make his abs as pronounced and his muscles as defined as humanly possible to create the best possible Superman physique. Cavill returned to a more manageable routine after the scenes were shot but felt his effort was rewarded when audiences and critics alike praised his physique for the true embodiment of what Superman would look like. After he had shot his shirtless scenes, director Zack Snyder gave him a tub of ice cream and pizza to reward him for his Herculean effort for the shirtless scenes.
Director Zack Snyder said that he really wanted to include a shirtless scene of starHenry Cavill in the film because throughout the film, you see him in a form-fitting body suit where he appears extremely muscular. He said the audience would think it was all rubber muscles, but it was important to show them it was indeed Henry Cavill’s body in that suit and that it was all real. Henry Cavill refused to take steroids to muscle up for the role. He also refused any digital touch-ups or enhancement to his body in his shirtless scenes. He said it would have been dishonest of him to use trickery while playing Superman and he wanted to push his body to the limits to develop his physique into one that was worthy of the character.
When Clark is first learning to fly, he is only able to make a few gigantic bounds. In the first few Superman comics in 1938-9, he was not able to fly but could only leap 1/8 of a mile.
Director Zack Snyder wanted Superman to have a big, muscular stature (as drawn by comic artist Jim Lee). Star Henry Cavill had to work very hard to build a big, muscular physique to get the look envisioned by Snyder
Henry Cavill embarked on a special four-month training regimen by his trainer Mark Twight to get the appropriate physique for his roles as Kal-El. He gained weight by drinking 5 1000-calorie protein shakes a day, then he did cardiovascular workouts to burn away the fat and build muscle, and finally he underwent a grueling two-hour workout to build up his muscles and abdomen. According to Cavill, the real problem he faced was the workout’s intensity: “Mark based his technique on going beyond yourself. Instead of slowing down towards the end of the workout, he asked me to actually work harder and harder for the body to reach its limits. His point was that if his client is able to walk out of the gym, he had not worked hard enough…”
Before the film’s release DC Comics published a prequel comic book about the crew of the derelict Krypton scout ship that Clark finds frozen in Canada. In the comic book, the ship was piloted by Kara Zor-El who, in the comic books, is better known as Supergirl.
According to costume designer Michael Wilkinson, the Kryptonian outfits are based on the wardrobes of the Versailles aristocracy, prior to the French Revolution. The designers etched into velvets and embroidered and screen-printed on fabrics to create over-elaborate indulgent costumes. The majority of the action scenes use a CGI cape for Superman and a CGI armor for the other Kryptonians. General Zod wears a black astronaut suit. This is based on the Modern Age comics (where he wore a special red suit that filtered sunlight) and the “Man of Steel”/”Action Comics” issues of the early 2000s (where he wore a warlord uniform in red and black).
When Jor-El escapes the Council, there is a shattered moon can be seen in the sky. This is Wegthor, a moon of Krypton which, according to the comics, was destroyed when a warhead was accidentally launched, leading to Kryptonian space flight/colonization being abandoned (brought up by Jor-El’s hologram to his son).
According to designer Peter Mitchell Rubin, Krypton’s look was primarily influenced by the 19-20th century Art Nouveau style (“Art Nouveau designers assumed that nothing could ever be as beautiful as what nature creates, so we tried to be as true to that ideal as we could.”) and electron scope/macro/micro-photographs of biological systems (primarily bones, bark, fungi, insect shells and dried plants).
Production designer Alex McDowell described the Kryptonian technology in the film as “geo-tech, scientifically advanced but also less glossy and more organic than the styles on Earth. There’s no rock or stone or metal; Kryptonians had perfected the ability to manipulate DNA, for thousands of years they built almost anything by biological means.”
During the last battle between Superman and Zod, Zod removes his armor to fight, leaving his crest visible. His family logo is a figure with a strong resemblance to a sickle. In the comic “Superman: Red Son” Superman is introduced as USSR’s protector, and in his chest appear the hammer and the sickle, USSR’s symbol
The final confrontation between Superman and General Zod was filmed in Chicago’s Union Station. At the end of the fight, Lois Lane runs down the station’s long staircase. This same staircase was the scene of the final gunfight in The Untouchables (1987), starring Kevin Costner, who plays Pa Kent.
In the final battle when General Zod and Superman fly into outer-space they both hit a satellite with the “Wayne Enterprise” logo. Wayne Enterprises is the company run by Bruce Wayne, aka Batman.
Initially, the original ending was supposed to be Superman throwing Zod into the Phantom Zone, but Zack Snyder and David S. Goyer decided to have Superman killing Zod instead. Christopher Nolan was initially against the idea of Superman killing Zod, but David S. Goyer talked him into it.
Zack Snyder proposed that Superman kill General Zod, in order to set up Superman’s classic “never kills” motto. He wanted it to be brutal and jarring, so that it would forever keep in Superman’s mind.
Earlier in the film during one of the scenes at the Kent house, a double tanker truck passing by in the background bears the “Lexcorp” brand name. Also, a building in Metropolis and a tanker truck later bear the name as well. This is the company run by Superman’s arch rival, Lex Luthor, who will appear in the sequel Superman v. Batman: The Dawn of Justice and will be played by Jesse Eisenberg
When Henry Cavill (Superman) was stopping the oil rig from collapsing and save the workers in that scene, very briefly you can see a set of whales, which leads to the theory that Aquaman (another DC comic hero) already knows Superman and saved him, which leads into Batman V Superman: Dawn of Justice.
MAN OF STEEL is everything you’ve ever wanted in a Superman movie (http://chasewhale.com/post/66400929753/movie-review-man-of-steel)
Snyder delivers the type of undeniable, overwhelming charge with which he’s become Sny-nonymous, and his affinity for spectacle strongly courses throughout (http://themoviereport.com/movierpt2013-06.html#steel)
Zack Snyder’s Man of Steel is a gritty and realistic take on one of the most iconic superheroes ever. It’s visually astonishing and action-packed.( http://wegotthiscovered.com/blu-ray/man-steel-bluray-review/)
Man of Steel is more than just Avengers-sized escapism; it’s an artistic introduction to a movie superhero we only thought we knew.( http://www.tampabay.com/things-to-do/movies/review-man-of-steel-revitalizes-the-superman-legend/2126392) (MetaCritic)
Man of Steel is presented on Blu-ray courtesy of Warner Brothers with an AVC encoded 1080p transfer in 2.40:1. Whatever qualms some may have with the dramatic content of this film, few are going to have even slight quibbles with the stunning visual allure of Snyder’s latest opus. The film seamlessly blends live action and lots of CGI, something that surely should come as no huge surprise to fans of Snyder’s previous films. Some of that CGI is just slightly soft looking, as tends to be the case, but it also gives the film some amazing set pieces, both Earthbound (when Clark rescues workers off of an exploding oil rig) and in space (courtesy of both the long Krypton sequence as well as Zod’s incursions later in the film). The image here is sharp, precise, and full of superb fine detail (just take a look at that weirdly rubbery lizard like suit Superman wears, or the close-ups of faces, where every pore is visible). As is the standard operating practice these days, things have been variously color graded. The Krypton sequence is kind of amber-brown, while the final act featuring the WHOLESALE destruction of Metropolis is largely made up of ice cold blues and slate grays, but never is fine detail compromised. Contrast and black levels are rock solid and consistent throughout the presentation. Some may have passing qualms with the brief moments of softness, or even mere seconds of murky shadow detail here and there, but given the overall excellence of this presentation, which I personally would rate as reference quality, I don’t think anyone is going to have major issues with the video presentation of Man of Steel.
You don’t have to wait long at all for Man of Steel‘s incredibly forceful DTS-HD Master Audio 7.1 mix to announce its very visceral presence. As soon as the seemingly endless series of production entity logos starts unspooling, the listener is greeted with an almost chthonic rumbling gurgling up from the subwoofer, in an approximation of what being in a live volcano probably sounds (and feels) like. That’s just the opening salvo in what is a nonstop barrage of artful surround activity. Both the opening half hour as well as the final half hour-plus of the film are incredibly loud and sonically hyperbolic, which will no doubt delight those who like their home theater setups pushed to their limit. But even in quieter moments, there’s great attention to detail. Listen to the rush of the water when a school bus the young Clark is riding in crashes into a river, or even better, the simple ambient environmental noises—quiet, but very present—in the Kansas farmhouse scenes. Dialogue is cleanly and clearly presented, even in the busiest aural environments, as are the ubiquitous foley effects, which effortlessly create nonstop immersion with a wealth of both discrete channelization and fantastic panning. This is certainly one of the most impressive soundtracks in recent memory. It frankly bludgeons the listener quite a bit of the time, but it’s an incredibly visceral experience from the first moment until the last.
- Strong Characters, Legendary Roles (1080p; 25:59) purports to be about the history of the character, but instead focuses almost solely on this film’s reimagined version, with passing nods to various changes in the comic book through the years. A more inclusive look at Superman’s storied multimedia past might have been more informative.
- All Out Action (1080p; 26:02) takes a look at the physical training of the actors, as well as the stunt coordination and big set pieces that are a major part of the film.
- Krypton Decoded (1080p; 6:42) features host Dylan Sprayberry, who plays the teenaged Clark, looking at the visual effects sequence of the destruction of Krypton.
- Superman 75th Anniversary Animated Short (1080p; 2:03). For those who miss John Williams’ epic theme from the earlier Superman films, it’s here.
- New Zealand: Home to Middle Earth (1080p; 6:35). You can explain to me why this Hobbit related supplement is included, because I frankly have no idea.
- Journey of Discovery: Creating Man of Steel (1080p; 2:54:05) is the first time that I can remember where the feature film is presented again on a second disc with interstitial interviews and background featurettes, but that’s exactly what this is. Unfortunately this bonus content is not available as a standalone supplement.
- Planet Krypton (1080p; 17:18). If you’ve ever wondered what History Channel would do with this subject if Krypton and the events of Man of Steel were actually real, look no further. This is one of the more patently ridiculous supplements in recent memory.