[ad_1]
[Cettehistoirecontientdesspoilerspour[Thisstorycontainsspoilersfor[Cettehistoirecontientdesspoilerspour[ThisstorycontainsspoilersforAvengers: End of the game]
Even with some Marvel films to their credit, directing two Avengers Consecutive movies would be the most ambitious company in Joe's career and Anthony Russo.
The Russo Bros. had to conclude 11 years of Marvel films. They had to manage a sprawling distribution with busy schedules (and high salaries). And perhaps more importantly, they had to create goals for six original Avengers that would please the fans (and, hopefully, the actors who played them).
The Russos Bros. knew that characters such as Iron Man (Robert Downey Jr.), Captain America (Chris Evans) and Thor (Chris Hemsworth) would be forever changed after End of Game, be it death, retirement or a new chapter.
No character arc has been treated more finely than that of Tony Stark, superhero Robert Downey Jr. first played in 2008 Iron Man. The Russos, with screenwriters Christopher Markus and Stephen McFeely, designed a End of Game scenario for Stark, and presented it to Downey for his approval.
"Once we decided we wanted that kind of ending for the character, we wanted to make sure that Robert was comfortable with that, just because of his tremendous contribution to the MCU," said Anthony Russo. The Hollywood Reporter.
Downey may have had mixed feelings about this chapter of the Iron Man trip, but he approved the End of Game not.
The results have been extremely fruitful for Disney and Marvel, with End of Game already over $ 1.3 billion since it opened last week and War of Infinity bringing in more than $ 2 billion worldwide last year. In a conversation with THR, the Russos Bros. discuss the introduction of the first openly homosexual character of Marvel Studios, from what they learned from screening tests and how they developed the surprising transformation of Thor.
You said that random encounters on the way to the toilets in the offices of Marvel make it possible to learn about the other films of directors. Do you remember a time when one of these encounters changed the course of your movies?
Joe Russo: Probably run in Taiki [Waititi] when he spoke Thor: Ragnarok and understand what radical direction he was going to take. It certainly illuminated some of the choices we made with Hemsworth War of Infinity. We had already designed our own version of this character, and then we found a way to incorporate the level of humor with which he was going to play, but we incorporated it into the psychological realism in which we love filter everything.
You made four Marvel movies, featuring characters that other filmmakers had created. Did your fellow Marvel directors give notes on End of Game, or were you alone since that is the end of the line?
Joe Russo: It was the end of history. It was really in the void. I was texting with a lot of managers in the last hours[Notedel'editorlesRussosontparléà[Editor'snote:TheRussosspoketo[notedel'éditeur:lesRussosontparléà[editor’snote:TheRussosspoketoTHR April 23, the day after the End of Game first]. It's truly an amazing experience to work with a collection of artists like the one we've had over the past seven years, where everyone really trusts and passes the torch in a very selfless way.
You did some very unexpected things with Thor in End of Game. Was Hemsworth on board for that? It was all a change.
Anthony Russo: He was on board. We talked to him very early. This was born of what we have just thought, at the individual level, how each of the Avengers progressed from the moment at the end of War of Infinity. How did they experience the pain of losing against Thanos and the loss of everyone? We have just started construction. This came out of very intense sessions with the authors, Markus and McFeely. We have just started encircling this character who was really blaming himself. If you look at Thor's loss War of Infinity, it's stunning. From the beginning of the film, when Thanos attacks his ship, kills Loki, Heimdal and a large part of his people. And throughout his failure to stop Thanos. We started to think about the consequences that could have for him and what it would do to him. We started to circumscribe this idea of depression and to express it in a way that seemed really surprising and interesting to us.
The salaries of the actors combined to End of Game are massive. This is not just the main distribution, but also the stars on the list who have cameos. How much did these salaries affect you in terms of thinking about your budget?
Anthony Russo: It was a huge financial problem in this movie, and the way it was manifested to us was the fact that we were shooting these movies two at a time. The main motivation for turning these movies back to back in this way and blocking them was to condense the work of the actors, so we bought them for a bit more of a movie rather than for two full movies. Marvel and Disney were able to structure their agreements with actors because we were saving their time by blocking movies that way. That was the only reason to shoot these movies this way. Of course, Joe and I had tremendous creative potential, in that we had the opportunity to tell a story with all those wonderful characters and actors. All the rest on blocking these movies together is a disadvantage. It was really difficult. Each of these films was the most difficult and complex film we have ever done individually, and back-to-back was a very difficult task.
In terms of where the six Avengers are in this film, did you work with the writers and then introduce them to the actors? If an actor strongly disagreed with his destiny, would you have changed?
Anthony Russo: We launched his bow because he launched the entire MCU. Tony Stark's bow is the longest and perhaps the most complete of the MCU. Once we decided we wanted that kind of ending for the character, we certainly wanted to make sure that Robert was comfortable with that, just because of his huge contribution to the MCU. We launched it. We went to see him and we introduced him to him.
Many actors do not have any opinion on what we do. They appreciate the fact that we somehow master these stories and drive where they should go and we have a vision of what they should do and they trust that. I think Downey may have had mixed feelings about thinking about[OùTonyStarkseretrouvedans[whereTonyStarkendsupin[OùTonyStarkseretrouvedans[whereTonyStarkendsupinEnd of Game]but I think that in the end he totally accepted it.
How do you lead Downey, someone who has lived with this character for so long?
Anthony RussoJoe and I are really good performers. We like actors. And a big part of our process is figuring out how we make the most alive actors in their roles and how we give them the autonomy and freedom to play and go to very interesting places. This is an important part of our creative process and our structural director process. Downey is the most wonderful collaborator. He's a really brilliant filmmaker and he brings tremendous energy to the process. To lead it, we have very engaged and deep creative discussions about our vision of the film, about what we want to do with the character. It is very useful to help realize these ideas.
Joe Russo: We are working on this arc for this movie since Civil war. We have prepared Downey for this particular performance for two movies now.
Joe, how did you decide to put yourself in the movie as Marvel's first openly gay character on the group therapy scene led by Captain America?
Joe Russo: Representation is really important to us in these films, and I think what makes us happiest with Marvel's progression is that it becomes incredibly diverse. We shot four of these movies and it was extremely important for us to have a gay character represented somewhere in one of these four movies. We wanted it so much that I wanted to play this character in the movie.
Anthony Russo: At the story level, the reason why this scene was important to us is that when you have a scenario that involves half of all dying life, it is important to us that we really want to adhere to this concept and continue this story. We had to have a voice in the film outside the Avengers. Introduce somehow the experience of what Thanos did in the narrative and complete it. This scene was very important to us because we wanted to go beyond the Avengers to tell the story of what the photo had done to people.
What did you learn from screening tests for End of Game?
Joe Russo: It's a complicated plot for people to follow – time travel. We modify the rules of time travel in this film and use multiple and varied time travel rules. Back to the future Rules that have really influenced every travel movie and TV show since the release of this movie. For us, it was really trying to get people to understand some rules of time travel and to understand how the plot unfolded. These were just a few things we had to add to help change people's perception of history.
You produce 21 bridges with Black Pantheris Chadwick Boseman. You run Spider ManTom Holland in the upcoming drama Cherry. Do you see this as a chance to show the public a new side of these Marvel actors?
Joe Russo: It's an incredible role for Tom in Cherry. This is a complicated character loosely based on a true story about a doctor who returns from Iraq with PTSD, becomes addicted to heroin as a way to cope and becomes a bank robber for support his habits. It's a very unique and different role for Tom. All of these actors are some of the best actors in the world and I think you become better at your job playing. You want to be a great carpenter, you do a lot of tables. You want to be a great actor, you play a lot.
Many Marvel actors have been able to act fairly consistently over the course of a decade and on a scale that I think requires you to be a better actor because you are subject to very specific control, from the public and the press. So, I think it's an incredible cast that we've been gifted. Being able to work with our friends – because we have become very close with each one of them – on unique projects going forward and being able to use the brand capital that we all have gained to work on these movies to create stories like Cherryit's an indictment of the opioid epidemic, it's a great way and a powerful way to use our friendships and brand equity to get difficult stories otherwise.
This interview has been modified for its length and clarity.
[ad_2]
Source link