Like we have Supergirl and Lucifer in development, and they’re both very different than everything we’re doing now. It’s well past time there’s a female superhero out there, both in film and on television, and it’s awesome that we’re on the forefront of that.
Well, Arrow and Flash are the same universe, and we get a lot of great story out of that — especially when we have episodes that cross them over, but that’s also where our superhero universe lives. We look at it as the multiverse. We have our TV universe and our film universe, but they all co-exist.
For us, creatively, it’s about allowing everyone to make the best possible product, to tell the best story, to do the best world. Everyone has a vision and you really want to let the visions shine through. I think the characters are iconic enough. I like [Marvel’s Agents of] S.H.I.E.L.D. a lot. I love what Marvel does. I’m a huge fan. It’s just a different approach.
The last thing in the world that we want to do is say no to something. The best thing we can do is work with the producers and try to be additive and collaborative and try to figure out how to expand it. Firestorm’s role in The Flash grew organically, but now it’s become something big and great because we can get Firestorm out there and his Rogues and everything.
The key for all of this is to expose more of the DC universe and the Vertigo books to people so they fall in love with them too. We share that love of these characters. So for us we’d rather expand than contract.
You never say never. Maybe one day we’ll link a show to a film if it makes sense, but the creative process we’re going through right now is to let the stuff live and breathe and be its own thing and own it.
You have to have conversations about what’s happening in TV and film between everybody because you don’t want to do the same thing. That’s super, super important.
With The Flash and Arrow, [executive producers Greg] Berlanti, [Marc] Guggenheim, and [Andrew] Kreisberg are huge fans. They know this stuff backwards and forwards, so we have a shorthand where we can say, “Bring in Katana” or “Let’s do Deathstroke.”
We’re trying to utilize as many characters as we possibly can, but there is a conscious effort to explore the DC universe. Like on Constantine, we already have Jim Corrigan, we put Dr. Fate’s helmet in the pilot; that wasn’t just a easter egg. I like the term easter egg, but I prefer all our easter eggs actually lead somewhere, that they’re foreshadowing. So a lot of the things we’ve planted in these series are there to lead to and introduce new characters.
The more we can get these characters out there, the more people are aware of them, and become inspired by them. There might be someone out there who sees Dr. Fate on an episode of Constantine and suddenly they love that character and they become a creator later on and tell me they have a great take for a Dr. Fate TV show. That’s what we want to happen. We want to inspire people with this stuff. And we want to get it out there. Like, I can’t believe Gorilla Grodd’s gonna be in a Flash TV show. That’s insane.
Like, I say it out loud and I still think it’s insane. But that’s what we want to do; we want to break new ground. Like, Firestorm [Robbie Amell] is going to be seen in live-action! We’re going to have a freakin’ Justice League movie! How crazy exciting is that? To see all this stuff happen, it gets me really, really excited. Who ever thought we’d see an Ant-Man movie? Like, if you’re a fan of superheroes or comic books, to see all this stuff coming to life — and done with skill and talent … we never could have made a Flash show with effects like this a few years ago.
The great thing about the potential of Gotham is exploring characters like Oswald Cobblepot. The focus isn’t on a guy in a Batman costume. Which is great. Everyone loves Batman, we want to see Batman — and you will on the big screen; Ben Affleck will be awesome. But you’ve got an opportunity to explore other characters that haven’t gotten this kind of attention. You could have hours and hours of great television to explore how Oswald Cobblepot became The Penguin that we know. Or, how does Edward Nygma go from working forensics to become The Riddler? And so on.
To see that city develop, and see Selina Kyle [Camren Bicondova] grow up, and see Bruce [David Mazouz] grow up, and Alfred [Sean Pertwee] — there’s a bunch of stuff coming up with Alfred that Sean is just itching to do because he’s a pretty physical guy, and it’s exciting because you’ll see a different side to Alfred than you’ve seen before. The exploration of these characters is what makes the show worthwhile. I think Oswald has already captured people’s imaginations.
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