….
[Next Day | Production Design Meeting - 2:15 PM]
The conference room had been converted into a visual presentation space.
Concept art covered every surface - Krypton's architecture, the Fortress of Solitude, the Kryptonian scout ship, and most importantly, the Superman costume.
James Richardson, the lead costume designer, stood before a mannequin wearing the prototype suit.
Wishlist, Seren will not be working for the film - apparently she got an offer from another one, and she had already committed to it.
Coming back to the suite–
It was stunning.
The traditional red and blue color scheme remained, but the design had been modernized.
The material looked almost alien - textured with subtle hexagonal patterns that caught the light. The cape was a deep, rich crimson that seemed to flow even while stationary.
And the symbol on the chest - the stylized S that meant hope in Kryptonian - was raised, almost three-dimensional, giving it weight and significance.
"We have gone through seventeen iterations." James explained. "The goal was to make it feel both alien and iconic, because to people who made this suit, it isn't a costume he wears - it's Kryptonian ceremonial armor, adapted by the Fortress fabrication systems."
Regal walked around the mannequin, examining every detail. "The texture is perfect. It looks advanced without being overly mechanical. What's the material?"
"Combination of materials, actually. The undersuit is a performance fabric for the actor's mobility. The armor plating is flexible resin that photographs like metal but allows full range of motion. The cape is weighted silk that will flow dramatically in flight sequences."
"And the colors?" Regal asked. "They need to photograph well in both daylight and low-light conditions."
"We have tested extensively. The blue has a slight sheen that prevents it from looking flat on camera. The red cape will be the most vibrant element in any shot, drawing the eye naturally. And the yellow in the symbol provides the necessary contrast."
Amara Okafor, the production designer, pulled up additional concept art on the projection screen. "Now, I will explain about Krypton itself."
The images showed a world that was simultaneously beautiful and dying. Crystalline structures reaching toward a red sun, advanced technology integrated into organic-looking architecture, a civilization at its apex just before collapse.
"Krypton represents an evolutionary dead end." Amara explained. "They achieved technological perfection but lost the ability to adapt. The visual language reflects that - everything is precise, geometric, controlled. It's beautiful but sterile."
She clicked to the next image - the scout ship interior. "The ship has been on Earth for thousands of years, hidden in Arctic ice. When Clark activates it, it's like waking up ancient technology. We are going for a 'ship as tomb' aesthetic - preserved but dormant."
"And the Fortress of Solitude?" Regal asked.
"It's done as you suggested." Amara showed new concepts. "The Fortress isn't built; rather, it's grown. When Clark activates the scout ship's Genesis Chamber, it creates the Fortress using Kryptonian crystal technology. It starts small and expands over the course of the film, reflecting Clark's growing understanding of his heritage."
Regal studied the images. "Yes, appreciate the follow up… It makes the Fortress feel organic, like it's part of Clark's journey rather than just a location."
"We were a bit of a spectacle initially but now after seeing the result for ourselves, it's perfect." Amara said. "By the end of the film, the Fortress is his connection to Krypton - the only piece of his birth world that still exists. It's simultaneously a monument to what he lost and a symbol of what he has chosen to protect on Earth."
Regal checked his notes. "What about Metropolis itself? We need it to feel distinct from New York but still recognizable as a major American city."
Amara pulled up city concepts. "We are basing it on Chicago architecturally - broad streets, distinct skyline, cleaner than New York but still urban.
"The key difference is that Metropolis represents aspiration. It's America's city of tomorrow, always pushing forward, always optimistic."
"That works." Regal said. "It mirrors Superman thematically - always reaching toward something better."
They spent another hour reviewing details - the Kryptonian technology aesthetics, the Daily Planet building design, the color palette for different locations.
By the time the meeting ended, Regal's vision was becoming tangible.
Superman was transforming from script to actual visual reality.
….
It was night.
Regal reviewed the Deadpool production schedule Ryan had sent.
Everything was progressing smoothly under Simon acting as the line producer - casting was nearly complete, location scouting was done, and the revised script was in final polish.
And since the film is not exactly under the timeline of MDCU, and being completely produced under Regal, the production speed should be faster.
His phone buzzed with a text from Darren:
===
[Darren: Henry Cavill's screen test is confirmed for 10 AM tomorrow. The cinematography team is prepped. Costume fitting at 8 AM.]
[REGAL: Cool. Thanks man.]
===
He leaned back in his chair, staring at the ceiling.
Tomorrow, they might find Superman.
Next week, Superman pre-production began in earnest.
In six weeks, cameras would roll.
And by December, the world would see what Earth-1 looked like - a universe where gods walked among humans and chose to protect them anyway.
Regal smiled slightly, closed his laptop, and finally allowed himself to head home.
Four hours of sleep awaited.
Then back to building worlds.
….
[Next Day | LIE Studio - Screen Test Soundstage]
The soundstage had been transformed into a makeshift Fortress of Solitude.
It isn't the full set - that would come later during actual production.
But enough to create atmosphere: crystalline structures catching strategically placed lights, a raised platform where Henry Cavill would stand, and most importantly, the camera setup that would determine if he could truly carry a $200 million film.
Regal stood behind the monitors with Leo Martinez, the cinematographer who had shot both Spider-Man and Iron Man.
Derren was nearby with his tablet, and James Richardson hovered anxiously, hoping his costume design would photograph as well as it looked in person.
"How is he doing?" Regal asked Derren, checking his watch.
"He is almost ready. Apparently, the suit fitting took longer than expected - they had to make some last-minute adjustments."
The stage door opened.
Henry Cavill emerged, and the entire room fell silent.
He wore the Superman suit.
The effect was immediate and undeniable.
The blue and red caught the lights perfectly, the cape flowed with his movement, and the raised S-shield on his chest seemed to glow with its own inner light.
But more than the costume, it was the way Henry carried himself - standing taller, shoulders back, projecting a quiet confidence that hadn't been there in his civilian clothes.
He looked like Superman.
It isn't just about a man wearing a costume, but the actual character brought to life.
"Holy shit." Leo muttered beside Regal.
Henry approached, looking slightly self-conscious despite his heroic appearance. "How does it look?"
"See for yourself." Regal said, gesturing to a full-length mirror the wardrobe team had positioned nearby.
Henry turned, seeing his reflection for the first time.
The transformation on his face was remarkable - surprise melting into something deeper.
Recognition, maybe. Or realization that this wasn't just a role, but a responsibility.
"It's..." he started, then stopped. "I look like my childhood bedroom wall."
The crew laughed, breaking the tension.
"Well, I consider that as a success." Regal said. "You ready to see how he moves on camera?"
"As ready as I will ever be."
….
The first setup for the screen test was finished in the next fifteen minutes.
Leo had positioned the camera for a Superman moment - the reveal - exactly as Regal wanted.
Henry would step into frame, the camera slowly pushing in as he looked up toward something off-screen (representing the sky, or a threat, or hope itself - the specifics didn't matter for the test).
"Remember." Regal called from behind the monitors. "You are not trying to look heroic. You are making a choice to be heroic, make sure of the difference. Show me the moment Clark Kent becomes Superman."
Henry nodded, stepping back off-camera.
"Action!"
Henry entered the frame slowly, his head down slightly - still human, still carrying doubt.
The camera began its push-in, and as it moved closer, Henry's expression shifted.
His jaw set. His eyes focused on something distant. His shoulders squared.
By the time the camera reached its tight close-up, the man on screen wasn't Henry Cavill anymore.
It was Superman.
"Cut!" Leo called. "Holy hell, that was good."
Regal studied the monitor playback, watching the subtle transformation multiple times.
"Again. Same blocking, but this time, I want you to add a beat of fear before the resolve. Superman isn't fearless - he is brave despite fear."
"Got it." Henry said.
The second take was even better.
The micro-expression of fear that crossed Henry's face before the determination set in made the character feel vulnerable and powerful simultaneously.
"It's neat." Regal said. "Next setup - dialogue scene. This is Clark talking to his mother after revealing himself to the world. He is questioning whether he made the right choice."
They adjusted lighting while Henry reviewed the script pages.
The scene was from late in the film, after Superman had saved Metropolis but faced public fear and suspicion.
It was emotionally raw, requiring Henry to strip away the heroic facade and show the scared young man underneath the suit.
Darren handed Regal the script sides. He would read Martha Kent's lines off-camera.
"Action!"
Regal (as Martha): "They're afraid of you, Clark. You can hear what they're saying, can't you?"
Henry (as Clark): "Every word, news report, and angry voice questioning whether I am a threat. And maybe... they are right to be afraid."
His voice cracked slightly on the last word, genuine emotion bleeding through.
Regal (as Martha): "You saved hundreds of lives."
Henry (as Clark): "And terrified millions in the process. They see what I can do, and all they can think is 'what if he turns on us?' What if I am not the hero they need? What if I am just... a mistake?"
He looked directly at the camera - at Martha, at himself, at the audience - and his eyes were filled with doubt so real it was uncomfortable to watch.
Henry (as Clark, continuing): "You and Dad always told me I was sent here for a reason. But what if the reason was just survival? What if there's no grand purpose, and I am just... alone?"
Silence.
Even though everyone knew it was just a screen test, the emotional weight was palpable.
"Cut." Regal said quietly.
Henry exhaled, breaking character. "Too much?"
"No." Regal said, and his voice was thick. "That was perfect, exactly who Clark is underneath the cape - someone carrying impossible responsibility and wondering if he is enough."
Leo was shaking his head in amazement. "Regal, I have shot dozens of screen tests. That was... one of a kind performance, I usually don't get until after weeks of filming, when an actor has fully inhabited the character."
"I am calling the board members." Darren was already pulling out his phone, not wasting the opportunity to calm the slightly salty members. "They will definitely need to see this footage immediately."
….
While Darren contacted Stan Lee, James Richardson pulled Regal aside to discuss the costume's on-camera performance.
"What do you think about the suit? Did you see any abnormality as the material caught the light?" James asked, pulling up test footage on his laptop.
Regal responded, seeing the curious man. "No problem. Actually, watch this section - when he turns, the hexagonal pattern becomes visible without being distracting. And the cape movement during that walking shot was exactly what we wanted."
Overally, the costume was photographed beautifully.
The blue wasn't too bright or too dark, the red cape provided visual pop without overwhelming the frame, and the S-shield naturally drew the eye to the center of every composition.
"The suit works." Regal confirmed. "Still…. I want to test it in different lighting conditions before we lock the design. Daylight, sunset, nighttime, and interior lighting. Superman needs to look equally heroic in all of them."
"Already scheduled." James said, scrolling through his production calendar. "We have got lighting tests scheduled for tomorrow with the stunt team. They will be doing wire work to test the cape's movement during flight sequences."
"Good. What about the Clark Kent civilian wardrobe?"
James pulled up additional designs - flannel shirts, jeans, simple t-shirts. Everything is deliberately understated.
"The goal is to make him blend in." James explained. "Nothing fashionable that draws attention. Clark Kent dresses like someone who doesn't want to be noticed."
"But not sloppy." Regal added. "Clark respects Martha too much to look like a slob. His clothes should be neat, just... ordinary."
"I am sourcing everything from normal retail stores rather than custom design. If audiences recognize the brands, it makes Clark feel more real."
Regal nodded approvingly. "That's smart. Superman should feel alien and godlike, but Clark Kent should feel like someone you could meet at a grocery store."
.
….
[To be continued…]
★─────⇌•★•⇋─────★
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