What’s it like to exist in modern Hollywood as a woman of Asian descent? Have you encountered any obstacles?

I’m sure I have. Absolutely. But I learned pretty quickly that you have to surround yourself with, shall we say, the right people. Because you can’t change the way people think, you can’t control the way they think, how they will behave. But it is quite possible to make sure that the people around you are not only protective of you, but they want to be with you because of your qualities as a person. So far, I’ve been lucky in my whole career. I’ve been surrounded by people like that in every movie we’ve made. But, of course, I know that a lot of people my peers face something like that, and I’ve been very lucky to have been protected from that.

What was this year full of violence and hate crimes against people of Asian descent like for you?

We have to support each other. And I’ve been very grateful for the phone calls, the messages, the letters that I’ve received. I think Tyler Perry said some very right things at the ceremony. Sometimes it’s hard to have those conversations, but you can just reach out and ask, “Are you okay? What can I do?” It means so much. Walk down the street and smile at a stranger, it might just make your day better. So I think we have to start with ourselves, with even if only a small circle of communication that we’re in. And if we all do that, I think we can make a difference.

“Forevermore” will have Marvel’s first gay superhero, a deaf character, and a generally impressive international cast. Did Marvelf say yes to all these things?

It was just an incredible experience working with the Marvel team. I should have been careful about saying “my vision,” although I do want people to know that they fully supported what I wanted to do. I want everyone to understand that. And the fact that I had the support of this incredibly talented team, some of the most talented artists in the world. And it really was a significant challenge to make this particular film, but they let me lead the process. So, the answer is yes.

We know that you’ve worked on your other films before with small, close-knit teams. How different was the process with “Forever?”

As far as Marvel is concerned, they knew from the beginning what I wanted to make this movie, how I wanted to make it. I don’t like to have hundreds of people standing around me, after all. So they tried very hard to adapt how to run the set the way I wanted to work. They have whole armies of real professionals, but each of them knew that they had better stay out of the way.

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• Evelyn was under as much stress as possible, but previously she had a husband she could trust. Can you talk about her transformation into a single mother and how she had to cope with those circumstances?

Emily Blunt: Sure. This character is so close to me and deeply personal to me. She acts with a kind of biblical ferocity when it comes to protecting her children, and I think that’s what I just adore about her as a person. But here she is, and the stakes have just risen to an exponential degree: she’s lost her husband, she has a newborn baby, no home; everything has burned to the ground. Where is she going? What the hell is this man going to do to protect her three children? How far will she go to protect these children? It turns out that very far.

But I also think this movie is emotionally even deeper than the first one. Because you’re dealing with grief, you’re dealing with a family who can’t step from foot to foot without feeling threatened. Their whole world has just been torn apart, and it hasn’t really been safe before. That’s why I always thought it was a good idea; that this family should take a chance and their world would be bigger; the stakes would be higher.

• There are so many layers to this movie, and I think you just lifted the veil. What is it about?

Emily Blunt: This movie? In the first episode, the audience learns how a family survived in this world. But how did other people survive? And how were they affected by what happened? I think that’s really the main theme – a story about humanity. You will see not only resilience and attempts to rebuild civilization, but also disunity; the idea of closing doors and borders; trying to answer the question of how far could you go to reach out to your neighbor? I think it was a really fascinating challenge for John to make sense of how other people have experienced all this.

• Rumor has it that you recently met with Marvel. We know that’s going to come up a lot.

Emily Blunt: That’s not true. It’s not true.

• Well, let’s say there’s Sue Storm. She has so many fans that the Internet is literally going crazy about it. What do you think about fulfilling fans’ wishes and playing Sue?

Emily Blunt: I suppose fan casting is great and very flattering for me. Purely hypothetically, and no one has talked to me about it seriously, my response is, “That’s great!” But I don’t know what else to say about it.

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• DC has had its ups and downs in recent years, unlike Marvel. If you were running DC…?

David S. Goyer: Which I would never want to do.

• But let’s assume you’re at the helm. What steps would you take next?

David S. Goyer: I think the main problem with DC is that Marvel has had absolutely consistent management for the last 15 years or more, whereas DC has not. The latter had all the changes depending on who was running them. This is fundamentally wrong. It’s hard to make any significant progress when there are constant changes in management. Another feature that has made Marvel incredibly successful is their dedication to the source material. Ant-Man remains Ant-Man. The Hulk remains the Hulk. They don’t try to change things. I would suggest trying to get closer to the source material. All in all, it’s a consistent universe, consistent direction and faithfulness to the source material.

• Some, including us, consider “The Dark Knight” to be one of the best superhero comic book adaptations. Which film do you think deserves that definition?

David S. Goyer: I can give you my top four. “The Dark Knight,” “Logan,” “First Avenger 2: The Other War” and “Thor 3: Ragnarok.”

• Name one comic book character whose story you always wanted to adapt but never did?

David S. Goyer: There are things I wrote that never made it to the screen. I did an early draft of “Doctor Strange” about 18 years ago. I would have loved to have written a screenplay for a Hulk movie: he was my favorite character as a kid.

• What was the worst comment you ever got from a studio about your script?

David S. Goyer: There was one story while working on the Man of Steel adaptation. When in the finale Superman uses the capsule in which he arrived on Earth as a child to bring down General Zod’s ship. The comments we got from the studio said, “You have to change that.” We asked why? They said, “Because if Superman uses that capsule to save the city and it gets destroyed, how will he ever get home to Krypton?” A long pause ensued, and we replied, “Uh. Krypton exploded. You saw it for 30 minutes!”

• Has there been a so-called “writer’s stupor” in your career, and how did you overcome it?

When Chris (Nolan) and I were working on the script for The Dark Knight 2: Legend Reborn, we had some problems with the middle of the film. It was a whole series of episodes: How Bruce was going to defeat Bane, how he was going to escape from the Pit, and how to bring up the fact that the kid was actually Talia. Chris and I just hit a wall, and he suggested we take a break for a week and put the pencils away. It’s kind of counterintuitive because you think you have to be immersed in the material all the time. But often when you have a writing stupor, it’s best to just walk away, do something completely different, and just hope that your subconscious will come to the rescue.

But in the speech of the week, I reread the first few years of comics and wrote the first few pages of the Superman movie script. So when we got back, Chris said: “Well, do you have any ideas?” I replied, “Yes, I do, but about an adaptation about Superman that has nothing to do with ‘Legend Reborn.'” That’s how Man of Steel came about. We ended up submitting it to Warner Bros.

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