The Loop (Movies)
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- Satipo in Raiders of the Lost Ark (1981)
- Kenneth Halliwell in Prick Up Your Ears (1987)
- Marshal Guarnaccia in The Marshal (1993)
- Titorelli in The Trial (1993)
- Dr. Stephen Arden in Species (1995)
- Levin in Anna Karenina (1997)
- Rahad Jackson in Boogie Nights (1997)
- Snidely Whiplash in Dudley Do-Right (1999)
- Solomon Solomon in Magnolia (1999)
- Hercule Poirot in Murder on the Orient Epress (2001)
- Diego Rivera in Frida (2002)
- Dr. Malick in Identity (2003)
- John Tetzel in Luther (2003)
- Victor Hugo Puente in Crònicas (2004)
- Bishop Manuel Aringarosa in The Da Vinci Code (2006)
- Touchstone in As You Like It (2006)
- Dick Suskind in The Hoax (2006)
- Baldabiou in Silk (2007)
- Edy Rodriguez in Nothing Like the Holidays (2008)
- Jack in An Education (2009)
- Sheik Amar in Prince of Persia: The Sands of Time (2010)
- "Why I did this? Well the money was great, and it was a chance to make a big film. I've never done a movie quite this big before. The last time I did a really big film was when I did Raiders of the Lost Ark, which 24 years ago was a state-of-the-art movie. But in comparison to what's available technically now, it seems almost crude."
- "Fantastic. Sam's a real gentleman. He's very courteous, very respectful, gives everyone the room to work. He creates a fantastic atmosphere on the set. Never raises his voice. Not a shouter. Some directors are real screamers. They get abusive. But Sam, and we worked hard. We worked long days, but because he treats people with courtesy, everyone is willing to put the hours in for him. He has a fantastic eye for storytelling. He's got a great sensibility - particularly for this material, which he quite clearly loves. He's just got a very intelligent and sophisticated way of telling a story which doesn't talk down to anybody."
- "We both started looking through old back copies of the comic, and I think Doc Ock first appeared around the mid 60s. When he was first drawn, he was like a big, sort of brutish-looking character. Then he became a bit more sleek, a bit more sophisticated, and then he kind of became more athletic. But the one thing that was constant through all the different manifestations of them was this rather sardonic, almost crude sense of humor. We both felt that was quite an important thing to hang onto."
- "The tentacles and all that stuff was partly CGI, it was partly animation, and partly what we call practical. I had them strapped on and puppeteers were operating them, and so on. It was sort of a mixture of all three really. We tried to use the practical tentacles as much as we could when we were in either close or medium shots, because then the guys operating them could be out of shot and could actually give them some life. But obviously the big set pieces like climbing up buildings, that was obviously all computer generated."
- "The first couple of days of rehearsal, we were just rehearsing with them, I discovered very quickly that I would have to adopt my own body language to this new circumstance. I couldn't sort of bend and turn and move in quite the same way, so I had to find a way that Doc Ock could move with all that stuff on. The tentacles were attached to a big sort of, it's like a big girdle that gets fused to Doc Ock's spine and they were attached to that, so the idea is that they were actually physically fused with his spinal column."
- "Well, I think parts are like rental cars. They don’t really belong to you. If they do, when a new franchise gets booted up, they’re bound to, if they revisit similar villains. I think for instance a different actor is going to play the James Franco role and if they revisit Dr. Octopus and they get another actor, that’s as it should be."
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