April 3, 2011|James Gunn has spent most of his career rewriting icons of decades past (Tromeo and Juliet, Dawn of the Dead, the big-screen Scooby-Doo pictures), and while I share many of my editor's misgivings about Gunn's latest post-modern exercise, Super, I was looking forward to interviewing him when his PA tour came around to Boston. Gunn had fifteen years on me, but it seemed apparent that our genre obsessions had sprung from similar sources. (Fresh out of college, I relished in the insanity of Gunn's then-recent Slither.) Still, despite our common lexicon, it took us a few minutes to get a bead on each other. "Just don't be like that last guy," Gunn told me with a laugh as I turned on my tape recorder. "He had two recording devices. He turned off the first one, and then I said some stuff that I shouldn't have said, and the thing was still recording. And I'm like, 'oh, fuck'--'cause he got me to say exactly what he was trying to get me to say."