Madame Web has received a lot of press since its release. First, it was for Dakota Johnson’s press tour of chaos, and then the film launched to less than stellar reviews.
Female-led films, especially in the superhero world, tend to get ripped apart. I can’t say I reviewed Madame Web very highly either, as there were definitely performance issues and plot holes I could not ignore. But what I can appreciate is a movie that brings in women, right down to the editors, to bring something together that explores important issues and celebrates women being powerful.
Do I hope they can do this without destroying origin stories or expecting viewers to accept things that don’t make sense? Yes. But are we making the right strides? Also yes. CGMagazine got to speak with S.J. Clarkson, director of Madame Web, on what makes filming superhero movies different, important themes of the film, and what goes into bringing it to life.
Superhero movies are basically their own genre now. I know you have some experience with superheroes on TV [Jessica Jones, The Defenders]. What made you want to jump back into that genre with Madame Web, and how does it differ from other kinds of projects you work on?
S.J. Clarkson: I think, like most projects, before I take them on, I’ve got to find the connection, and the connection for me was the character of Cassandra Webb and the superpower Of clairvoyance, which initially I was like, what am I going to do with clairvoyance? And then I found that that was its biggest virtue, the fact that it hadn’t really been explored before.
It was challenging. How were we going to show that and how could we see that in a way that was exciting, thrilling, psychological with a little bit of horror? So that became really the connection for me that made me want to make this film.
How does it vary from a standard project when you add these superhuman elements to it?
S.J. Clarkson: I think the thing for me is don’t lead with those. Let those be part of the icing on the cake, as it were. Make sure that the characters and the narrative are really strong, and then you get to put this special sauce on top of it, which is what it is. So you get to take it up a notch. And, of course, you get to do these amazing set pieces, which is really exciting. From the finale at the end, but even to some of the driving in the ambulance and diners, you get to do some really fun stuff.
And how we can tackle that in a way with this movie that made it different. Like, for example, the train is kind of a big action sequence, but everyone’s just sat in their seats on the train. You know what I mean? So it’s what might happen or could happen, you know? So I found that really interesting, and the difference, I suppose, is it’s just that, and you’re knowing you’re doing it for a big screen audience and that collective experience, which is incredibly exciting.
I know a lot of the effects in Madame Web are actually practical. Was that something that was important to the film from the beginning, or did it just work out?
S.J. Clarkson: No. I think I felt because it was a psychological thriller and it was quite cerebral that it needed to feel grounded. Right? Because If not, it could get really big really soon. You know, if clairvoyance was going to be this crazy thing from the very beginning, it could then where does it end? Where do you take it to, and what is that? And I like the idea that it be something that could happen to any of us.
So, for me, doing most of it in camera and doing it with editing felt like a really interesting way. And also with edits, that’s what makes horror and thrillers work, the editorial on it. Right? Being able to use the edit as a tool. So knowing really—or hoping because you never know for sure—you direct this, and you’re like, “Oh my god. I really hope this cuts together well.” But, you get a great editor on like Leigh Folsom Boyd, who I had, and you get a great partnership going. And then it’s about the thrill of finding the most dynamic way to tell the story and to get those moments to punch through.
Madame Web explores issues like abandonment, found family, and teens really coming into their own. How important do you think it is to explore these issues in film, and do you think that Madame Web does it justice?
S.J. Clarkson: I hope so. The audience, I guess, will tell me that. Being British, I would never say that about my own film, but I hope it does it well. I think it was great to explore that. I think what I really enjoyed was the age gap between them was a generation apart but not that far apart. And to see the changes in each generation and what you can learn from each other and those shared experiences.
I thought that was really interesting to explore throughout the film. I think there were definitely things that really worked by putting that dynamic together by making her [Cassandra Webb] only about fifteen years older or so. I think that was a really I think that made for me quite an interest in exploration.
Do you think in Madame Web or films like this, there’s anything that you’re putting into it of you personally?
S.J. Clarkson: I don’t think you can make a film without giving yourself to it. It’s a twenty-four-seven profession. For me, it’s been two and a half years, and we literally finished it last Friday. So I’ve sort of given everything to it. There’s nothing of me left right now. It’s all there in the film.
I think you obviously bring your experience, your life experience, and your experience as a director to this moment. So I guess your hand is on everything, but I do think my job is a bit like conducting an orchestra. You’re bringing all the players and the parts together and hoping to sort of bring it together in a beautiful symphony.
