BURBANK, California — David Goyer is a busy man. A writer and director best known for his comic book adaptations, Goyer’s next flick, “The Invisible,” opens Friday. But for the brains behind “Blade” and “Batman Begins,” one movie is never enough. Goyer recently talked with MTV News about some of his most anticipated upcoming flicks.
“The Dark Knight”
You’re a meat-and-potatoes plot guy, hungry for story details on “The Dark Knight.” Look closer, Goyer insisted: Everything you need to know about what’s next for the Caped Crusader can be found at the end of the last movie (see ” ’Dark Knight’ Script Picks Up Right Where ’Batman Begins’ Left Off” ). “The last scene of ’Batman Begins’ tells you where things are going to go in the next movie. That was very intentional. We paved the way,” he said. “For people interested in where the next movie is going to go, watch that scene again.” The predominant theme in the first film was fear. What’s in store for number two? “Escalation,” Goyer said. “Escalation is certainly [the biggest theme].”
“Super Max” (The Green Arrow)
Batman, Spider-Man, the Hulk — heck, even Daredevil — have all gotten origin stories. Not the Green Arrow. But Goyer said he’s not interested in making a Green Arrow movie. “As opposed to thinking of ’Super Max’ as a Green Arrow movie, you should think of it as one of those [comic] miniseries events, like ’Infinite Crisis,’ ” Goyer said. “The Green Arrow is a primary player, but it goes broader — that’s what’s kinda fun.”
“Super Max” will follow the Green Arrow as he’s thrown into a jail designed specifically for supervillains, immediately before a mass breakout forces the Arrow to team up with the very men he fights. “It’s a backwards take on it. It’s a way to do a different kind of superhero movie in that he’s going to be shorn of his superhero identity,” Goyer revealed. “At the beginning and end of the film he’ll be the Green Arrow, but at the middle he’s just a number without a name.”
But just because the film ostensibly centers on the Green Arrow, that doesn’t mean all the villains will be from his comic universe, Goyer said. “There’ll be lots of Easter Eggs for hard-core comic book fans, meaning references or things to all sorts of [characters]. We’re gonna cull from the whole D.C universe,” he grinned. “We sort of have to navigate some legal waters, [because] obviously some villains are reserved. But there are a couple somebodies [we’re really excited about].”
What if there were people out there who could read your mind? What if those same people worked for the government? That’s the basis for a remake of the 1981 David Cronenberg-directed horror classic, which Goyer calls “two-thirds ’Scanners’ and one-third ’The Bourne Identity.’ ”
“There’s the public arena to what our government’s doing and then there’s the non-public arena, in which the CIA and the NSA are involved. [Imagine] if they had operatives that were capable of making people do things or reading their minds or things like that,” Goyer said. “If we are interrogating a terrorist and we’ve got a Scanner, we don’t necessarily have to torture that terrorist to know what they know. We can use a Scanner to do it.”
Sound like an improvement? Not to Goyer.
“Cronenberg is one of my favorite directors, and his films are always very political. I’m trying to take the best from [his] film but update it to reflect a post 9/11 world,” he said. “What if the government had access to those kinds of people in a world that deals with Extraordinary Rendition and Guantanamo Bay? We’re treating the Scanners almost like nukes. Each country [only] has a certain amount of them and there are deterrents and non-deterrents.”
“They approached me almost apologetically about doing this film. They thought I wouldn’t be interested,” Goyer revealed of his new genre-twisting flick. “Yes, I’m known for working with a lot of archetypes. And, yes, this is a departure for me. But I was really aching to do something a little different to kind of clean my palette, if you will.”
Goyer’s first directorial effort since “Blade: Trinity,” “The Invisible” follows Nick Powell (Justin Chatwin) as he leads friends and investigators to the location of his body. Stuck somewhere between life and death, Powell’s spirit wanders the city, unable to communicate with anybody but his attacker, Annie (Margarita Levieva).
“There are all these moments near the end of the film when Nick says to [Annie], ’I see you.’ And it’s a bit ironic because he’s the one that’s invisible,” Goyer said. “But what he means is that he gets her, he understands her in a way that her parents don’t.”
That allegory represents a story firmly rooted in adolescent angst, Goyer said.
“The whole movie is a metaphor for growing up. Most teenagers feel like no one understands them,” Goyer said of the film’s plot. “It’s interesting, because while older people enjoy the movie, younger people get it immediately. They understand the metaphor, get it in their bones.”
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