Frost: After Earth, Oblivion, World War Z, Man of Steel — there's been a lot of apocalypse films this year. And it's generally because the Mayan apocalypse was approaching, their timing was off, and it's the biggest way to make a spectacle, too, to destroy whole cities. Even Transformers in 2012. I think science fiction's kind of lost its way over the years, in that people suddenly think it's about the robots. It was never about the robots. It's always been about the people. And robots have been a metaphor for something. And there doesn't seem to be a metaphor now. It's literal destruction. Was Man of Steel a metaphor for 9/11? No. It was just us seeing buildings falling down. There's nothing poetic about that.
Frost: You can also be very cynical and say, "Are you cashing in on those images?" You know what I mean? I'm not sure that's the case, but that seems to have sprung up since that happened.
Pegg: If you look at Transformers, Transformers is a movie version of a toy, which came out of a series about robots, which was aimed at children, and then suddenly it's a thing that's skewed towards adults, but it is just toys fighting. It's all it is. And it doesn't really say anything about us or the world. And in my experience of it, it's just mind-numbingly dull.
Frost: You never even get that satisfaction or the joy and hope that comes from the chance of rebuilding. It just ends on a mass destruction.
Pegg: And consequently, and it sounds like we're really blowing our own trumpet ...
Frost: Blow it! [Makes a series of trumpet sounds.]
Pegg: [Makes one single trumpet blurting sound.] The thing about The World's End, we never wanted to welch on our promise in the title. Even though the title is referring to a pub, it promises something a lot bigger than that, and we wanted to show the consequences of what happens in the end, that that status doesn't go back to normal, that there is a change, and that change is permanent. It's not like everything's all tied up nicely and you can all go home and live happily ever after. That was one of the things that blew me away about Man of Steel, that at the end, they're all at the Daily Planet office just going, "Hey! Let's go see the Dodgers!" Isn't everyone dead? Isn't New York flat? What do you mean, go see the Dodgers?!
Vulture: Plus, Clark Kent just walks in there and no one recognizes him, after all of that, just because of the glasses.
Frost: [Whips glasses off.]
Pegg: [Whistles Superman theme.] I thought Nick Frost was supposed to be here! Oh, there he is! That's the thing. The choice to make that film so real, and kind of grown-up, is to reject its innately childish aspects — you know, the tights, the underpants, and all the silliness of it. Which meant that that moment, when he goes to be Clark Kent, is totally lost, because you don't buy it within the criteria that they've set for themselves with the reality of the film. Whereas with the Christopher Reeve Superman or the comic book, you buy the glasses, because it's silly anyway!
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