Quoted saying: “[Kanye] is speaking his mind as he always do, keeping it Hip Hop…The drums are–just all the music, you know that’s incredible. From Kanye being an artist/producer/visionary–he knows his direction. He knows exactly where he wants to take his songs. He knows exactly where he wants to take his videos, his projects, the whole thing.”

DJ Toomp Says Kanye West “Good Ass Job” Album Is Incredible from DJ Smallz on Vimeo.

Meanwhile, Kanye West performed in Acapella three new tracks to Facebook employees at an event. The tracks performed were apparently Chain Heavy, Lost In The World and Mama’s Boyfriend. The First two are in fact listed to be in the album according to the leaked tracklist. Checkout the videos below:

Good Ass Job makes its mark on 14th September, dubbed ‘A G.O.O.D Day’. Let us know what you think.

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Lupe Fiasco’s name has been tossed about lately, what with the recent Twitter tirade former producer Prolyfic made (to which Lupe responded) and also, the online petition made from the fans demanding Atlantic Records to release Lupe Fiasco’s third album ‘L.A.S.E.R.S’ which has been in limbo for over a year and a half now.

Video above shows a short clip of the interview that Lupe Fiasco responded to in recent known topics. Recently Lupe Fiasco released his own version of Rick Ross’ B.M.F (in Lupe’s version it is called ‘Building Minds Faster’) and whilst he confirmed that it is not leading up to an official Mixtape anytime soon (one thing that’s kinda lame), he is touched at how much fans are determined to get the album released.

“I love to see progression,” he said yesterday via phone. “I love it. I love to see this petition. It brought me to tears a couple of times like, ‘these n—as really f— with me. All these kids and these fans f— with me and it’s some positive sh–. Go to Wearenotlosers.com and see what Lasers really is. … That’s what they’re petitioning for. Listen to ‘I’m Beamin,’ the song. It reaffirms what we’re doing.”

As mentioned earlier, former friend and producer Prolyfic took to Twitter in insulting the Chi-Town emcees status in Hip Hop, portrayed as stubborn and as someone who’s constantly throwing tantrums. Whilst he called it tough love, he may have taken it with further insults saying L.A.S.E.R.S has no hits to which Atlantic can promote, hence why it is not released. Furthermore starts to slightly diss the fans…Lupe responded on Twitter but also gave his view of the situation with Prolyfic during the interview with Mixtape Daily.

Going on to say: “My old producer Pro, he was signed at the company maybe four or five years ago. We used to be cool. But Pro knows why we ain’t cool no more. I’m not him, the type to air business or make false accusations just for the sake of getting my name out there. He knows why I don’t really f— with him. He knows why Chill don’t f— with him. He knows why the company don’t f— with him, why half of the city don’t really f— with him.”

Regards to his situation with the record label that is Atlantic; the reason for the lack of singles (he was supposedly only meant to do three albums as it was only to change his mind it seems) is that he says Atlantic presented him with choices of singles they wanted him to record and put on his album. One of them turned out to be B.O.B’s “Nothing on You.” Fiasco, however, turned down using those records because, he says, it wouldn’t by fiscally sound. He was told he wouldn’t have any ownership of or publishing rights to the records.

“I don’t think the label cares about an album,” Lupe assessed. “I don’t think n—as care. People just want their number-one record. They don’t care about the rest of the album. I was talking to an engineer the other day and he said, ‘These n—as don’t even care about mixing an album no more.’ They just want the first three songs. Three singles. They get them, one, two, three, they don’t care what’s on the rest of the album. I know this for sure. I’ve seen it. You can’t blame them because of the attention span of the game and the attention span of music, how fast things are going. You only got them one, two, three shots. I’m not no fool. I’m looking at it like ‘Yeah, you’re right.’

Hmm sounds familiar in just about…EVERYWHERE…he goes further saying: “You just want them, one, two, three. Can I get two? Can I get three. I’m talking about equity in the songs. I wrote ‘Superstar.’ The hook, all that sh–. That whole song is mine. I’m not doing it outta fame. I don’t mind having people come in and support. That’s how my career started. With all that said, I own some of ‘Superstar.’ These records, I’m not finnin to own sh– on those records [Atlantic chose as singles]. N—a, that’s not success. That’s stupidity. … I have no problem accepting help, but you ain’t finnin to take advantage of me. I got nine brothers and sisters. They gotta eat. … F— what n—as gotta say on a message board. F— what Pro is talking about. I got a whole family, a whole team, a whole crew of n—as I f— with in the streets that’s eating off what Lupe Fiasco is doing. I gotta do what’s best. If I’m not getting no publishing check, that means I can’t pay for my man’s lawyer. So n—a, f— you.”

As it looked a little extreme between Lupe Fiasco and Atlantic Records six months back, things now seem a little calmer…for now anyways.

“It’s not necessarily a standoff. Record executives at the company signed the petition. That’s no bullsh–. It’s something that’s systematic. At the end of the day, everything I’m talking don’t mean sh– until they feel like they gonna move with what they gonna move with. They could put Lupe Fiasco on the shelf forever. At the end of the day, it’s not about me going to war or having a standoff. It’s about having an agreement that’s mutually beneficial, and I think we’ve done that. It’s at the point that everybody is kinda comfortable, but in the midst of everybody getting right, here comes this petition. Then in the midst of this petition, you get this punk n—a Pro coming out the box talking all this crazy sh–. It puts more negativity into the situation. But the people at Atlantic love that. I’m not saying they love the negativity, I’m talking about the petition. For them to see 16,000 people say, ‘This is what we want and what we want now. We’re sick of all this dumb bullsh–.’ They love to see fans that actually care.”

Do they? Really? I mean if that’s the case they could have seen the fact fans like me wanted to see this on its original promised date of December 2009. Atlantic Records are indeed playing unfair with Lupe Fiasco, and though Prolyfic did make some good points, he also thought stupid when comparing Lupe Fiasco to the likes of Lil Wayne, Drake, and Gucci Mane.

All in all, it is the man’s life, its his music, his career, and if anything I would want to release songs on my terms also, with my own meanings and my own rights to give what Hip Hop really should be about, rather than sellout like a majority of people.

If you want to sign the petition going around, click here, currently with 17,838 signatures. Also checkout our other links of Prolyfic’s and Lupe’s full twitter feed wars between one another.

As always, let us know what you think.

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One thing hip hop fans have been dying to know is where is that G-Unit Gangsta Grillz mixtape we were supposed to get? “Everybody keeps asking me, hitting me waiting for the G-Unit mixtape though. They still want the G-Unit Gangsta Grillz,” Drama says. Whoo Kid said that 50 Cent was talking to him about doing one before the summer is over. That would be big…let’s hope we get that. If so it’s going to kill everything moving.

[Radio Planet]

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In an interview with MTV he had time to talk about his next single he hopes will equal the success of ‘Billionaire’. ‘Need You’ however takes a more dark turn compared to the first singles happy bopping summer tune.

“We just shot the video two nights ago from, like, 9 at night until 10 the next morning — it was tough,” McCoy said. “It’s definitely a little darker than what people are used to from me. I’m never serious at all — it’s hard for me to grasp this whole thing, the fact that I’m getting paid to do something that I love, so I’m always cracking jokes or smiling. All the videos I’ve been in have had a lighthearted feel, but this one is kind of serious. …It’s one of the more introspective and personal songs on the record, so it’s only right to have a video that’s kind of dark.”

Make of it what you will, but speculation suggests the song is very much about his time with once dated Katy Perry, who is now married to a hairy stick. This is suggest by the apparent hidden message within the chorus…I don’t hear it but, Travie McCoy is one to delve deep into his own life as such to bring out the best in himself so, who knows…

He further goes to say: “The concept of the song is basically me explaining to a girl that I’m not in a position to give her what she needs, and that’s always tough, especially when you have feelings for someone. So the video is definitely relationship [based]. But, in this situation, she doesn’t take it too well. Let’s just say that.”

Let us know what you think – Like the song? Katy Perry related? The dude did really love her after all…

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Below is a video with Writer/Producer Greg Berlanti talking with Comingsoon.net/supherohype.com regards to the process of the movie, what they wanted involved, the passion and more. Check it out:

Also, below here are four new promo posters of the movie, featuring the main stars Ryan Reynolds, Blake Lively, Mark Strong and Peter Sarsgaard as their characters respectively along with a single line quote from the Oath that is known very well to the Green Lantern fans. Check them out below:

The film is Directed by Martin Campbell and also stars Tim Robbins, Taika Waititi, Temuera Morrison, Angela Bassett, Jay O. Sanders and Jon Tenney. It is set for 17th June 2011. Give us your thoughts.

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Speaking with VIBE Magazine, he went to say: “When I do get in the studio with him, I promise you, we gon’ make something so fucking crazy. I’m telling Eminem right now, if we get in the studio I know that I’m going to get the best out of Eminem, and he’s going to write the most incredible verse that he’s ever written in his life, and it’s going to be the biggest fucking anthem in the streets and it’s going to be the biggest anthem when we get together, and I know this for a fact, and God willing, it’s going to happen.”

DJ Khaled says that a track with Eminem would be like his other well-known tracks; basically grabbing different artists to just make verses with one another…Not exactly a great pitch for collab DJ Khaled, but nonetheless something Eminem more likely would go for…

further adding: “I already have some people in mind, that’s something I want to discuss with him first. It’s definitely going to be a collabo track, but it’s going to be the great ones. But the thing is, I just gotta get with Em. I just gotta get with Em in the studio to present the concept and then from there, he’s going to say, ‘Khaled, turn the mic on.’ And I’m going to say, ‘Of course I am.’”

“It’s going to be anthematic. It’s going to be the biggest anthem in the world. I’ma find a way, don’t worry.”

Oh dear…I suppose he expects people to shout stuff too on the track, with random horn sound effects. Let us know what you think.

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This being one of the bigger hits of Comic-Con, Zack and Deborah Snyder were on panel to discuss the topic of the named-movie, as well as talks on the early stages details of 300′s not sequel/prequel story of Xerxes. Check it out below:

Q: We were just discussing Inception and how straightforward the dreams are in that film. Your dreams seem to play a little differently.
Zack Snyder: (laughs) I dream in a different way. I guess that’s what our movie is about. For me anyway. One of the sort of recognizable or procedural parts of the movie is that when Baby fantasizes or closes her eyes or whatever you want to call it, their adventure parallels a little adventure that they’re doing in reality. A super-small one. For instance, they need a lighter. They need to steal a lighter that has a dragon etched on it from a dude. It’s the simplest thing ever. That’s what they’re really doing. Baby’s version of it is what you see. That’s the movie. Part of it. She closes her eyes and they go to another frickin’ world. They fight a dragon. They have a B-25 with a jet engine. They have to slit the baby dragon’s throat and steal the fire. She ends up killing the dragon and, when the music ends, that object has been stolen because she has successfully distracted the person she needs to distract. There’s kind of this super-simple straightforward procedural part of it, but then there’s this insane [aspect]. When she actually does fantasize, it’s a real fantasy. I just use my own imagination as a template. So yeah, they do dream big, I guess.

Q: How much of the movie is those fantasies and how much is the “real” world?
Zack: In a percentage?

Deborah Snyder: There’s four of them. Four of the fantasy sequences.

Q: So it’s much more set in reality?
Zack: (hesitant) Yes.

Deborah: Well, there’s kind of three levels of reality.

Q: Like Inception?
Zack: Four. Inception was four levels of reality. We didn’t have quite as much money as they did (Laughs) We got one less level.

Deborah: It’s all bookended. It’s like The Wizard of Oz. I always think of it that way.

Zack: So what’s happening is that there’s a giant tornado at the beginning. (Laughs) No, there’s no tornado. But it is bookended, though. Baby is committed to the insane asylum by her stepfather, who wants her lobotomized so she won’t be able to testify or tell the police what he’s done to her. He pays the evil orderly off. He says, “No problem. It’s going to take me a little while because we don’t have a lobotomy doctor here who can do it.” So in five days, the guy’s coming to do it and in those five days she comes up with a plan to escape. She wants to get out before that happens. That’s really the sort of story of the movie. She can help these girls and these girls want to help her to get out. Because they want to get out. But somewhere along the way, she actually starts imagining that this insane asylum is a brothel and she’s a virgin.

Deborah: And in five days she’s going to be deflowered.

Zack: In five days, this rich guy is coming to take her virginity… In that reality, the shows that the girls do are shows for the men who come to that club. Because she isn’t a performer yet and because she doesn’t work out in the club, Mrs. Gorsky [(Gugino)] wants to train her to dance. She wants to train her to be one of the girls. She’s real shy and each of the fantasies is her kind of learning more. She closes her eyes when she dances and we never see her dance. What we see is the fantasy.

Q: But the fantasy has repercussions in the world of reality?
Deborah: Everything ripples back.

Zack: The trick, is, though, that I tried to f–k with that, too. I didn’t want it to be one of those procedural things where they go, “If I stab your leg, your leg starts bleeding in reality. I was aware of that convention and I wanted to f–k with it a little bit… It’s as if one of the main “rules” of dream-making movies is asking, “If I die in the Matrix, do I die in real life? Yes? Okay, well that’s a bummer. How many times can I be shot in the Matrix?”

Deborah: It’s sort of about, where do you go when things get bad? Where do you escape to? How do you cope with that? A lot of times you visualize somewhere else. You want to be somewhere else. And I think that the girls and Babydoll find strength. Each time they go, they seem to find a little more strength and a little more courage.

Zack: Yeah, Scott Glenn is kind of like her Yoda in those worlds… He’s the most awesome person on the face of the Earth. He’ll say, like, “Listen, Zack, I can do the ADR, but I’ve gotta go. I’m flying out to Hawaii to do deep-sea spear fishing.” Where you freefall 40 feet and then kill these giant deep sea tuna while sharks are circling. But he’s not bulls–ting, either. I would tell that as bullsh–t. And then he’s like, “On the way back, I’ve got to stop and get the leathers for my new Ducati. I’ve gotta go break them in and then shoot some machine guns.” I’m just like, “Okay, you’re the most awesome person in the world.”

Q: He plays a sort of Sensei?
Zack: Sort of. It all folds back around on itself. So, in the end, you’re like, “Oh, okay.” But, yes. For practical purposes, he’s Babydoll’s Yoda.

Q: You’re making a gritty, violent but female-driven story. Can you talk about who you hope the film will appeal to?
Zack: Well, I hope the film will appeal to everybody. Hopefully boys won’t see the images and say, “I don’t want to watch that. I don’t want to see a bunch of girls shooting machine guns!”

Deborah: Orcs and samurai and all these creatures.

Q: Orcs like Tolkien orcs?
Zack: Sort of Tolkien orcs.

Q: How many genres are there in this film?
Zack: I don’t know if I can give you a list, but I can tell you that, really, for me it was just about the whole dreaming concept and just, “Why not?” I’m all about, “Here’s a bigger mecha and the samurai are like ten feet tall! How about that? How cool would that be? And maybe one of the samurai has a G minigun. And maybe one of the Samurai has a rocket launcher.

Q: So it’s more like, “What genres aren’t in this film?”
Zack: Hmm. Romantic comedy? English period piece? Western?

Q: I think samurai counts as a Western.
Zack: Ha! Nice.

Q: You guys are set now on not releasing in 3D. Was that a hard decision to come to?
Zack: I think it has a little to do, for me anyway, with not wanting this movie to feel like it was made in a boardroom because it really wasn’t. Warner Bros. has given us an awesome opportunity and they themselves didn’t want to cheapen that.

Deborah: They saw they first visuals and knew that it really didn’t need it.

Zack: They thought, “This movie is out of its mind.”

Deborah: It would hurt us more than it would help us. We really didn’t have faith that we could it, especially after working Guardians, which is made in 3D.

Zack: And is awesome 3D… Once we had been spoiled by the kind of baked in 3D that we had created for Guardians where every bit of it is perfectly rendered. We’d have to kind of go against something that was as good as it can be. That’s the qualifier. It’s cool this way, but if we shot in 3D, it’s way cooler. You can just do the 3D vibe from the version. And I’m like, “I don’t want a 3D vibe.”

Deborah: I think there’s enough ways not to do it out there and, to Warners’ credit, they were really supportive in not wanting to screw it up either.

Q: We’ve seen images and toys of the big mecha bunny. What is the significance of this to the girls?
Zack: It’s just awesome.

Deborah: But there’s a significance in the bunny as well. A lot of things play in the different levels of reality. We tried to use pieces. Think about it. When you dream, a lot of times it might not be a total picture but, if you’re stressed out about something, you get pieces and little hints of things. That’s what we wanted to do. The bunny is actually Babydoll’s sister’s toy that’s on her bed. Something tragic happens to her, so I think it’s very haunting.

Zack: But the mecha itself if just awesome.

Q: In the footage you showed, you had Led Zeppelin in there, but mentioned that you may not get the rights.
Zack: No, we got the rights. We just had to show it all to them.

Deborah: It’s funny. Years ago, you didn’t have to go and license any music for comic-con. But I think there was a lawsuit last year and Warner said, “Anything you show, we have to license everything.” We thought, “We’re never going to get them. Zeppelin never does this.” And we were like, “Please, please, please!” and just couldn’t believe it. It’s just so perfect. In case we couldn’t get it, they showed us ten different things.

Zack: And we were like, [error buzzer]!

Q: What was the other music in the clip?
Deborah: Lords of Acid.

Q: Can you give us a quick update on Xerxes?
Zack: I don’t know if they said it in the article, but I’m using Frank [Miller's] frame to kind of whack at this. I’m using the same process that Kurt [Johnstad] and I used when we wrote 300 except that sometimes we don’t have any images. We’re a little bit ahead of him right now. But we have his outline. We have dialogue. It’s pretty detailed. We might have to double-back once we get the artwork if there’s something cool, which there certainly will be. It follows Themistocles and the battle of Artemisium, which is basically a sea battle that took place on the exact same three days as Thermopylae. So it’s kind of a parallel story. But it kind of starts before 300 and goes past it.

The movie opens 25th March 2011, and once again if you seen aything special whilst amazingly being at Comic-Con, let us know what you feel? In general, give us your thoughts.

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Here’s a video showing just how cool Ryan Reynolds really is, and of course you weren’t looking at Blake Lively and her boobs:

And here is the full Q&A of the whole conference itself. Check it out:

Q: Is Green Lantern a hard sell for audiences simply because there’s so much going on?
Martin Campbell: It’s not a tough one to explain. I think it’s all very, very clear. I think the story that we are telling, which is the Hal Jordon story, is quite concise, actually. I think that the fact that he is taken up to Oa and he’s inducted and he becomes a Green Lantern and the way in which the ring works through will power. The stronger your will power, the stronger your construct. Construct being whatever your imagination cares to create. The actual story is very simple. I know there are many complex characters and all the characters from the origin story go on to the dark side in later comics and things, but I think it’s very straight forward.

Q: For Ryan, are there any specific Green Lantern comic book storylines that you’re particularly fond of?
Ryan Reynold: There’s a lot of them that are inspiring. Unlike many of the comic books, it’s such a vast universe to this character and his contemporaries. I read a few different ones. For the most part this is an origin story so I was able to focus a little on Secret Origins, but then, obviously, our script is a much more in depth interpretation of that basic storyline. Geoff Johns described this thing as a version of Star Wars in the DC universe. I think that was a pretty apt description. You have so much you can mine out of this. Out of these comics and this character in particular. I think that any time you’re dealing with a guy who has something unbelievable and unsurmountable to overcome, it makes for a pretty interesting story. As an actor, it’s an interesting and excellent thing for me to get an opportunity to play. This guy has a very distinct starting point. He’s a bit of a fractured human being. He’s seen some difficult stuff in his life. He’s seen his father die. We move on to find him a little bit later in life and he’s kind of arrogant, cocky and aimless. It’s this extraordinary power that is bestowed on him that sort of sets him on a bit of a humbler path. It’s pretty cool.

Q: How does your experience playing a superhero in Green Lantern differ from playing the imaginary superhero in Paper Man? And is this costume even tighter than the Paper Man costume?
Reynolds: So you’re the guy that saw Paper Man! Yeah, this costume is a motion capture suit that I’m wearing. Because it’s not seen on camera, they’ve managed to find a material that I think most would agree is the most aggravating substance on earth. We’re shooting in Louisiana, which is pretty close to the sun in terms of the hottest place you can find anywhere around. The suit has actually been a little bit difficult running around in a unitard in the New Orleans high summer heat. If I were wearing anything, it’s going to be pretty uncomfortable doing an action movie this time of year in the deep south. I can’t be too hard on the suit.

Q: You’ve done a lot of training for action scenes in the past, but how much more extensive is the training for the aerial sequences we’ve been hearing about?
Reynolds: The training’s just different. You’re not training on an aesthetic level, you’re training for more of a functional ability. You want to be able to stay out of the hospital for as long as you possibly can. But it is a Martin Campbell movie, so you’re bound to be there once or twice. He pushes you so hard and I think that’s why the action is so real and so visceral. You really feel what Martin once described as a knife fight in a phone booth. I think that’s a really apt description of how his action feels. It’s rough. It’s dirty. It’s fast. You’ve got to be ready for it. It’s been fun to train in that regard for something actually real.

Q: Blake, did you have to do any special training to play Carol Ferris?
Blake Lively: I had to spend many days with Ryan. That was my training. No, I got to be in the Matrix rig, which was this rig that was invented for The Matrix. I think it goes about 20 feet high, but I like to say 50 so please spread that rumor because it makes me feel cooler. I’m on this gyroscopic waist belt. It works towards your weight and makes you very nauseous. You’re just spinning in every direction. That was about the extent of my stunts for this, but we did some test pilot training, too, which was really fun.

Can you describe the style of your character and her fashion choices?
Lively: Nglia [Dickson] was very specific to make her relevant but not too modern. We didn’t want to connect the movie to any specific time. You don’t want to date it, so this is very classic column dresses which is an iconic, strong, businesswoman look.

Q: Peter, your wife dated Batman. Was it fun to also be a part of a big comic book franchise like this?
Peter Sarsgaard: My wife indeed dated Batman. Yeah, I guess it was my turn. Although I don’t get much kissing. I might get a kiss in.

Q: Tell us about your character.
Sarsgaard: He is a biologist. He teaches the university but his private time is quite interested in extremophiles, animals that live in extreme environments on earth as a way to understand creatures that live on other planets. There’s a fine line there between science and wishful thinking. I thought about a lot of people who have sort of stretched our ideas. Added a little bit of creativity to science like Carl Sagan or Isaac Asimov. The part of me that, when I was young read more things like that than I did straight comics. A sense of wonder about the world where you start filling in gaps, which is what most scientists try not to do. So I really thought of him as kind of a dreamer in a lot of ways.

Q: Ryan, can you talk about playing characters in both the Marvel and DC Universes? Can you talk about that casting process?
Reynolds: I don’t personally delineate too much between Marvel and DC and don’t pay any heed to that supposed rivalry. We live in a world in which the technology has allowed us to bring these kinds of movies to life in ways that they couldn’t two or three years ago. The emergence of the superhero franchise being so mainstream now I think is a result of that and nothing really more. I’ve never really had that thought or issue about thinking, “I was in a Marvel film so I can’t be in a DC film”. The casting process for me was the same as it would have been for anyone else. I met with Martin. I fell in love with the concept and the idea. He showed me the art department, which was incredible. It was an experience. I didn’t go to the art dept and see a few things, I had an experience there. To see the world they were creating for this character and this film was unlike anything I’d ever seen captured on film ever. That was an amazing moment for me. That’s what really made me want to do it. Then I screen tested for it not once, but twice. I got up there and Martin put me through the paces. But the great thing about a screen test is that it’s just another day of work. You’re there onset and there’s another actor with you. There’s a set and a cameraman. You just go to work and it was a nice, pleasant experience.

Q: How many auditions did you go through?
Campbell: Well, we did test a few actors. There were a number. We tested a few of them twice. We went to England and tested a few people. Really, it’s a very serious consideration. This is not just one film but, if it’s successful, we’ll do a sequel, so we hope this is something that goes on for a long period of time. Everyone was good. Ryan was exceptional… That process is pretty standard for films like this one with so much riding on a potential franchise.

Donald De Line: We found out they always want to see the guy in the mask as part of the test. Ryan looks really good in a mask.

Reynold: I actually have one little anecdote I wanted to add to this that I haven’t mentioned yet. There was a Cinderella element to it, because the FX house had this thing in our industry called life casts. It’s a mold of an actor’s head and you can build a mold of a prosthetic around that. You can do anything. Obviously, Peter had one done to wear his prosthetics in the film. The FX house that was asked to make the Green Lantern mask had no idea who was auditioning, but they arbitrarily chose my head from their vast catalogs of actors’ heads with which to build this mask around. So when I showed up to set, my mask fit a little better than maybe Regis Philbin’s or Richard Chamberlain’s. Or whoever else might have been auditioning that day.

Q: Green Lantern is pretty fearless. What’s the biggest fear you grapple with in real life?
Reynolds: What scares me? Stepping out at Comic-Con in front of 6500 people is not a settling experience. In terms of fear, I try not to live in fear. Nerves are a nice thing. They let you know you’re alive. I pay more attention to the nerves than I do the fear.

Lively: I don’t want to talk about what scares me.

Q: Because many of the secondary characters are CGI, have you already cast the voices? Do you have a Kilowog?
Campbell: It’s interesting. We’ve got some ideas we can’t disclose at the moment, only because of post production. We’re a year out from releasing and also the look of the characters. I’m sure there’ll be three or four voices tried for each character to see how they fit. You’re never quite sure until you cut the film of precisely how the characters turned out. Rather like screen tests for actors, we try voices to see what suits.

Q: Mark, you can talk about how you prepared to play Sinestro?
Mark Strong: I’m not sure you prepare for villains necessarily. You prepare for a character. I suppose the way I look at villains is that nobody is born evil. Usually something happens to their time on the planet or in space that causes them to become the way they are. You have to look at who he is and what he stands for and what he believes in. He is an incredibly organized, fearless, exponent of the Green Lantern Corps who believes that he knows best. In this movie as it stands, he becomes mentor to the newly minted human Green Lantern and basically guides him through his first steps. We deal with that process, so I don’t think of him as a villain or even in a bad sense. He’s just an incredibly powerful presence who knows what he believes and what he wants to be right. If there’s anything that causes him later on to spill over to the dark side, it’s his unquestioning belief in his own rightness.

Q: Mark, do you get to do the same kind of beatdown you got in Kick-Ass?
Strong: Interestingly, going to work beating up a 12-year-old girl wasn’t an experience I have very often, so it’s nice to be facing a worthy opponent.

Reynolds: I’ll take that as a compliment!

Q: Do you guys get a lot of one on one time?
Strong: Yeah, we’ve been training. Part of the storyline is that Hal visits Oa and Sinestro tests him because he’s not entirely sure that humans should be members of the Corps. So there’s a sequence where Kilowog and Sinestro put him through his paces.

Q: There’s a lot of talk about building to a bigger DC Universe on film. How did this affect the development of this film?
Campbell: No, I don’t think [they affect it] at all. I think we stand absolutely on our own and we stand as our own superhero, our own story. And a terrific story it is.

Q: Ryan, how do you react when fans ask very, very specific questions about elements from, say, a certain issue of the comic book series?
Reynolds: Artful deflection. I would never profess to be as well-versed or as literate in that comic book world as they are. I do know a bit about certain comic books and I’ll be the first to tell them when I don’t know about that particular issue.

Not much is detailed regards to the suit, but if you have seen the Entertainment Weekly magazine photo, it seems they are thinking a little off on their thoughts. Who knows. Green Lantern – set for 27th June 2011, give us your thoughts.

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Coming out of the highly rated Indie movie ‘Winter’s Bone’, Lawrence talks about the sudden rush to already prepare in character and ink up the blue skin, to which she is catching on.

Talking with Orlando Sentinel, she says: “When I got the part I dedicated a whole day to watching all three movies, and I really liked them. I was still a little worried, because I didn’t really understand the whole mutant thing. But the script cleared some of my questions up, and knowing that James McAvoy and Michael Fassbender were already on board gave me confidence.”

She could not say much it seems when it comes to what we’re expecting of Mystique, only giving details of what her preparation to become…blue.

She says: “I have to do 12 hours of prosthetics. Oh man.

“I have to take Mystique back to the beginning, before she became who we saw later. I don’t know exactly what I can talk about, but this is going to be fun.”

“NOBODY looks good blue. Well, maybe Zoe Saldana. I am very curious to see how I’m going to come off in that suit.”

We’re pretty sure she can pull it off herself. For the full interview click here. Let us know what you think

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