A Tangled Web: Behind the Scenes of Marvel’s Madame Web
In an intimate tête-à -tête with Madame Web’s esteemed director and co-writer, S.J. Clarkson, we delved into the intricate tapestry of Marvel’s latest superhero extravaganza. With a résumé that boasts seminal works like Jessica Jones, The Defenders, and the critically acclaimed Succession, Clarkson’s deft hand in weaving captivating narratives is undeniable. Madame Web, set to grace the silver screen on February 14, 2024, promises a thrilling psychological thriller that beckons us to unravel the mysteries of its enigmatic heroine.
Portrayed by the luminous Dakota Johnson, Cassandra “Cassie” Webb is no ordinary protagonist. As an orphaned Manhattan paramedic, she finds herself entangled in a web of visions and flashbacks that defy comprehension. Drawn to protect three young women with extraordinary futures, Cassie must confront her past to understand the forces that hunt them relentlessly. With Clarkson’s guidance, Johnson’s portrayal promises to be a tour de force.
“We sat down, talked about it, gave her some of my film references, and talked through sort of how I saw it,” Clarkson divulged. “I think it was because I wanted it to feel grounded and relatable that she was in. She was worried about it being too fantastical, and I said, ‘Look, I don’t know what to do if it’s that, but I think I know what to do this way.’ The collaboration started there, and we were very much partners in crime throughout.”
Clarkson’s vision for Madame Web diverged from the conventional superhero narrative, embracing a psychological thriller genre as her muse. “I didn’t set out to do anything specifically other than I knew I wanted to make a psychological thriller,” she explained. “I wanted to make a film but not think about it as real traditional filmmaking in the true sense of the word but more of a situation where we happen to have this wonderful sort of universe and sandbox to play in.”
Set in the vibrant era of the early 2000s, Madame Web is a nostalgic journey through a time untainted by the omnipresent surveillance of today’s “surveillance capitalism.” Clarkson deftly wove this sense of nostalgia into the fabric of the film, incorporating period props and a soundtrack that includes Britney Spears‘ iconic “Toxic” – a delectably apt choice for a spider-bite movie.
“I remember the noughties, and I remember the 90s. That was my time, so in some ways, it was pure nostalgia, a joy to go back there, and a little hilarious,” Clarkson reminisced. “The young Spiders were on set and saying things like, ‘Look at that phone! Oh my God.’ We remember that. 2003 doesn’t feel like that long ago, but it was 20 years ago; that’s considered a period drama now.”
Keeping a big-budget film under wraps while shooting on location posed its challenges, but Clarkson and her team employed clever tactics to throw fans and the curious off the scent. The production utilized code words like “Peru” and “Clair” – the latter being a nod to the film’s clairvoyance theme – on signage. “It was ‘Claire’ quite early on, but the only thing was is I didn’t want it to have an e on the end of it, but the clair in clairvoyance doesn’t have one. They thought that would also help throw people off more. We used ‘Peru’ on some unit signs because they prefer three to four-letter words. It’s really strategic. A lot of planning goes into it, and I’ve just demystified the whole thing, which is hilarious,” Clarkson divulged, her laughter echoing the mischievous delight of a well-executed ruse.
As the clock ticked down to the film’s premiere, Clarkson and her team raced against time to lock the final cut. “Let me be clear: I could have worked on this for longer, but every director will say that the clock was ticking. I’m never ready but we had exhibitors scrambling for it. It was all to do with visual effects as those were the last things to come in,” she confessed.
Despite the time constraints, Clarkson’s dedication to her craft shone through. She meticulously crafted the film’s visuals, employing practical techniques like using a diopter lens and smashing glass against glass to capture the essence of Cassie’s clairvoyant abilities. However, the grand finale sequence demanded a visual effects army to bring the spectacle to life. “When it comes to the army of people that make me and everybody in the movie look good by bringing the visual effects to life, you want to give them as much time as possible,” Clarkson acknowledged.
With a last-minute push to complete additional photography and a nail-biting race to drop in the final computer screenshot mere moments before the deadline, Madame Web’s journey to the silver screen has been a tangled web of artistry, perseverance, and a touch of Hollywood magic. Clarkson’s masterful storytelling and Johnson’s captivating performance promise to weave a spell that will enthrall audiences and leave them craving more.
