Interview: Director Scott Derrickson Explains How Doctor Strange Is More Like ‘Winter Soldier’ Than ‘Guardians’
Posted on Tuesday, September 27th, 2016 by Peter Sciretta
We continue our on-set Doctor Strange interviews with the director himself, Scott Derrickson. Between filming scenes, Derrickson talked to us briefly about the movie’s possible soundtrack, the adaptation process in a Marvel movie, what its like working in collaboration with Marvel Studios, the struggle to make magic feel different from Harry Potter and Lord of the Rings, the film as a martial arts based supernatural action movie, the fantastical visual imagery, why Scott loves the character, how the film’s humor is like Captain America: Winter Soldier, how Benedict Cumberbatch brings the humor to the movie, why they chose Kaecilius to be the villain for this story, why they made the changes to Wong and The Ancient One, and more. Hit the jump to read out full Scott Derrickson Doctor Strange interview.
Scott Derrickson Doctor Strange Interview
I have a super specific question. Are there any Bob Dylan songs in this movie?
Scott Derrickson: Oh God, I hope, I hope so. That’s my answer to everything. I hope there are Bob Dylan songs in every movie. So yeah. No, we are, we’re looking at specific songs and some of them classic songs. We’ll see which ones we’ll get. Which ones we can afford and which ones we can get the rights to.
When you come onto a movie like Doctor Strange where Marvel obviously has an idea of what they want it to be, how much development are you doing from the start? Like how much are you building this movie from the ground up compared to a film that you’re doing outside of this kind of thing?
Scott Derrickson: In terms of adapted material, which I’ve done before a couple of times, the development process was even more from the ground up in this case. Because you have a large body of stories and material from the comics. And when I first met with them, they had certain thematic ideas they liked. And not a lot of story ideas, which was great. And I think it was my connection and interest in the thematic ideas that got me the job. And the whole process was starting with all ideas on the table. And so I was involved in it from the very get-go.
How has it been so far? Has it surprised you?
Scott Derrickson: It’s been incredible. It’s been the most incredible filmmaking experience for me by far, for a variety of reasons. The experience with Marvel, you know, I can only speak for myself. I know every director has their own stories. But my experience with Marvel has been really good. And I really enjoy the intimacy of the collaboration because it’s all been just myself and Kevin [Feige] and my producer Stephen [Broussard]. There are no middle men. It’s that and my crew. And that’s it. There’s no one else working on the movie.
And that’s new for me and unique for me. And the ambition of the movie, I’m surprised that I’m getting to make it. Because I keep feeling like these set pieces… someone’s gonna say, it’s too bizarre. It’s too weird. We’re going too far. And I feel as though we crossed a line at some point in the process, which the comics I think were the inspiration to try to go past certain boundaries. But we crossed a line and after crossing that line we just kept going. It all kept getting stranger and stranger not to be, I didn’t mean that as a pun, but it all just kept getting more bizarre. And in a good way, in a way that as a viewer I think I would be satisfied by.
Kevin said that one of the hardest nuts to crack with the movie was to figure out how to make the action believable and different because you’re just sort of conjuring spells and things of this nature. Can you talk about what the action’s gonna look like and how you sort of cracked that?
Scott Derrickson: Yeah, it was the idea of magic, preserving the idea of magic was really important to me that we didn’t try to explain it away or root it all in something scientific that by definition is not magic to me. And there’s also the burden of popular magic movies, the Harry Potter series, the Lord of the Rings, which appropriate magic in a very familiar, traditional way. And the comics had a few ideas in them that were to this day still very original. Those ideas we’re using and the rest of it was also was very traditional in the use of spells and even some of the imagery.
So or me, the starting point was what kind of things have we not seen in cinema? That we could, was almost working backwards. What kind of imagery, what kind of action could be created in cinema that we haven’t seen and I started from that place and looked for a way to tie that in to magic. And some of those ideas didn’t tie in well and some of those ideas tied in surprisingly well. The ones that tied in really well, those became the major set pieces for the movie.
This morning we asked Kevin what sort of subgenre this movie falls into. And he said supernatural, which feels very vague. But just from what we’ve been able to sort of see, it looks like sort of like a martial arts movie in a way. I mean, is there like a heavy martial arts movie influence here?
Scott Derrickson: Yeah. There’s definitely a martial arts influence on the movie. Because that is the action that I like for starters. It is also martial arts is the kind of action that does tie in well to the supernatural. There’s a whole subgenre within martial arts cinema. The supernatural martial arts movie. Particularly within Asian cinema. And I felt like when it came to fighting in the movie that just made sense to certainly to go in that direction and stay away from gunfire and things like that. And to avoid having fighting be the casting of bolts of light. That was another thing where I feel like I really feel like magic has been, we’ve been drawing on the Emperor in Star Wars for over 30 years, you know, and so we gotta start doing this some other way. You know, the magic power, the utilization of magic power. But there’s some good fighting in it. But that fighting is again, always within a context of something I think more fantastical and more surreal and more mind trippy than just the supernatural action of combat. I think that it’s always supernatural action, combat, fighting within a larger surreal canvas. That was the thing I always wanted to preserve so that we’re never just watching fighting.
I’ve seen on your Twitter feed lots of great art, well actually Ditko art and a lot of stuff. When you’re adapting a story like this and so much lore and so much visual cues from the comics, what is the most important personally? What did you really wanna make sure what was in this film, whether it’s a caution piece or a set piece, design or something like that?
Scott Derrickson: That’s a great question. That’s a really incisive question. For my love for the comics I think is probably I’ll start by saying this. I love the comics so much and I grew up reading Marvel Comics. And Doctor Strange is my favorite comic book character probably I think honestly the only comic book I would feel personally suited to work on. And for me it was my long-standing love for Doctor Strange comes from first of all, the fantastical visual imagery of all the comics, particularly the early Ditko stuff, Into Shamballa, The Oath, a lot of the images that I have picked are from those three sources. And then individual issues.
Thematically the loneliness of that character, I always really liked the idea of a character who had gone through so much trauma and was placed into a position between our world and other worlds, other dimensions literally. That’s a lonely position. I like that.
But I think my that as I’ve gotten older, my continuing love for Doctor Strange has been that he is a character who transforms through suffering. He goes through this gauntlet and for me that’s kind of the most powerful thing. He goes through this gauntlet of trauma and suffering, going all the way back to his childhood in the comics. But then he appropriates that suffering in a certain way that limits him. And then he goes through the loss of everything in a really painful, you know, unbearable way. And eventually finds self-transcendence in something mystical.
That’s Doctor Strange. You know, and I love that. And I think that again, in getting to why I think I got the job, I think it’s my genuine love for that. That was that somehow connected to what I didn’t know it at the time, but I think it really connected to what Marvel wanted the movie to be. And when I came in, I talked about Doctor Strange in those terms and for me it’s like that’s the only way I could make the movie. You know, that and I had set piece ideas already about how to make the movie as weird, as visually weird in this day and age as the Ditko comics were at their time.