So now we have the Kryptonians coming to Kansas.
As you can see, there's a big dust-up... Uh...
What we did is we used a helicopter, a physical helicopter to fly in...
...which we covered then with the CG spacecraft...
...which was a cool way of getting the dust and wind to blow on Diane...
...and make that feel really like there was a ship approaching...
...shake all the bushes.
I know the farm is that way, right?
- I'm assuming that they've gone to the pond. - Yes. Yeah.
So I'm looking.
And then, when she says-- I say, "it's okay. Me too."
And then I'm off.
Let's get into it. Let's do it.
MAN: Speeding.
ADAMS: Have you been up here, Zack? ZACK: Up there? No.
ADAMS: It's beautiful. ZACK: What do you see?
CAVILL: Corn. ADAMS: Corn.
ZACK: Wow. That's shocking. ADAMS: Yeah.
ZACK: I love production. I like shooting. You know, it's fun for me.
Being on set...
...and seeing Henry in his costume, you know, coming out, putting him on a wire...
...even though we didn't do a lot of wire work, but putting him on a wire, he and Amy...
...it was the first time, I think, that he was in his costume.
We were in Illinois, in a cornfield.
And it was the first time Henry was in his costume.
And there was just something really magical about this sort of weird descent that they did.
And there's kind of destruction around and... I don't know, it was like--
I suddenly was like, "Wow, we're making a Superman movie." It was pretty cool.
It was early on, but it was one of my favorite, favorite moments.
Now when Zod came down...
...that was Michael Shannon's first day.
He and I had talked and he had asked me whether or not...
...he was gonna have armor on.
I said, "Of course you'll have real armor. How else would we do it?"
And he was like "Oh, great, because I don't wanna look like an idiot in pajamas."
And of course he shows up in his pajama suit.
And I'm like, "Yeah, sorry. It's gonna be CG armor.“
So he was not happy. He goes, "Where's the spaceship?"
I'm like, "Those green stairs are the spaceship."
But amazing performance, regardless.
This is the starcraft with a Superman logo to come.
This is where the outer cradle dock and the inner cradle dock-- Where the little baby sits.
That had been damaged by supervvitch, and now she's really pissed off.
And Superman had better watch out.
FAORA: The Codex is not here.
Michael Shannon, what you should never do, and he should know better...
...is to threaten Superman's mother, which of course results in...
...him being tackled through a giant, exploding silo of flammable material, I guess.
I think they keep flammable material inside of silos. I wouldn't, but they do.
The Smallville battle was a massive undertaking.
Elements from visual effects, to wires, to helicopters, to explosions.
Cars, car crashes, et cetera.
It was a two-week shoot in which we had one unit...
...that Zack ran the entire time. The Smallville battle...
...is unique in the sense that, other than the Kent--
From the Kent farm to the gas station...
...that flying scene between Superman and Zod...
...and the interior of the IHOP being shot on green screen...
...the entire rest of the battle was all shot on location.
Because we wanted that human element, we wanted that raw, real feel...
...and we didn't wanna shoot this one on a green screen.
It was a great challenge, but we really are happy...
...with the way it came out. It keeps the texture of the actual town.
You kind of end up about right here...
...and the guys all come and they've got their guns on you, right?
And you stare at them. And you come out like this, and they're all gonna be--
They'll all go:
They'll back up a little bit and do this and lower their guns.
You kind of walk right through here.
RANGER: Do we have an all clear?
Now we see the aftermath...
...of the incredible violence that has struck our farm from the alien invasion.
And we see Martha scrambling around in the debris.
And what does she locate and go after? The most precious thing...
...that anybody really seeks out is your memories, is your history...
...is the proof of your past. It's evidence of your value system, it's your emotional life.
It's your identity in some ways. Your photo albums.
I kind of miss the old days when they were tangible, in-a-book photo albums.
But that's the way Martha rolls, old-school.