[ad_1]
Tom Hiddleston, Anthony Russo and Joe Russo on the set.
Chuck Zlotnick
In Thursday's episode of The Gist, Mike Pesca sits down with Joe and Anthony Russo, the brothers who led Avengers: End of the game as well as previous Marvel films Captain America: The Winter Soldier, Captain America: Civil War, and Avengers: war in the infinite. The following has been adapted from their discussion and has been edited and condensed for clarity.
Mike Pesca: I was listening to previous interviews where you were talking about Captain America: Civil Warand in an interview, you were very proud – and you should be – to have a focus group, and I think there were 15 people on Captain America's side and 15 on the Iron Man side.
Anthony Russo: Yeah.
But at the beginning of End of GameDo not you say who was right? Tony does not he rightly say that he had the right answer to this question of civil liberties in relation to security?
Joe Russo: In a measure.
Anthony Russo: Well, he says that in a moment of great constraint. He is practically dying of hunger. He is stuck in space. He is devastated.
He says the most hurtful things.
Anthony Russo: Yeah.
Joe Russo: He was not wrong, he feared an imminent threat and they had to build armor around the world. At what point do civil liberties prevail without a play on words? Do civil liberties go before the ability of the government to protect its citizens?
What's interesting is that to a certain extent, they had to go through there. There was a sense of destiny for that. They had to go through it to win it. And in a way, Cap and he were right.
I think all your movies have an argument in the center. What do you think was the central argument of this film?
Anthony Russo: "Can you really control your own destiny?" Was an idea that we thought was essential for this film. What Thanos did is so overwhelming and decisive, and that's how, how does a hero react to that? How can a hero advance? And can the actions of this hero really change things?
And there is an ambiguity in the answer. I think it is asserted that you can change your destiny, but that at the same time, you can not always change it on your terms. You may have to sacrifice something to achieve it.
Joe Russo: And the essential conflict, I think, is enunciated on a porch scene with Tony and Cape when they argue over whether they should pursue this opportunity to go back to the past and get the stones, and Tony says, "J & Have a child now. "
What is everyone supposed to do, who has improved his life in the last five years? Maybe married, kids came into the world – how not to put that in danger if we're going to do that?
And then, Cape explains, "What do we owe to those who are lost? We must make the effort to try to bring them back if we think we can do it. "
I made a segment on The Gist c & # 39; was a fake newscast that happened three days after the events of this film. Here are some of the things that have happened: The overabundance of housing has caused a serious housing shortage. The air level in India has reached a dangerous level for the first time in five years. I started thinking about planes: a quarter of all planes probably fell from the sky, if both captains died. But then, half of the planes' passengers would come back and half of the people who would not have been dusted would have died now. Whatever it is, there were a lot of considerations. I will ask you some questions.
Anthony Russo: We like it, by the way. Yes, we spent time thinking about these things.
The one I saw you addressing definitely in the film, because you had to do it, and that it was an interesting way to go, is the environmental aspect. So, whales, just looking at bees and insects … and it was also something that Thanos explicitly cited: saving humanity by killing half of all life. But are there other aspects that you want to address? What would really happen if we cancel all this after five years?
Anthony Russo: One thing we talked about a lot – and I found it very deep, but it was almost too big for us to debate, but we tried for a while – is that a quarter of kids have no parents . Assuming you started with two parents. So there are many orphans in the world. Just the staggering number of that. I believe that at a very early stage in development, Black Widow was actually running the DC organization that was in charge of the orphans. That was what she was heading for five years later. But yes, it's fascinating when you start losing it.
No scene was beyond the characters we knew, for example families reunited on a large scale in New York. Some of the other Avengers movies had cutaways. We see, for example, the rest of humanity kissing, or whatever. Why? Why do not you want to go further?
Joe Russo: Well, when we see these things in the movies, I feel like I'm disconnecting them, because I do not know those people. So we always try to find a way to tell this story through the characters we have and that we hold dear.
Anthony Russo: We think it's more emotionally gripping, it's the characters that the audience has followed through this story, realizing the catharsis of this moment with these characters.
Joe Russo: And as directors, we would prefer to direct a scene between Elizabeth Olsen and Jeremy Renner rather than Extra 4 and Extra 5.
Anthony Russo: The other thing that we also like to think about – but it was rather joking, we never addressed it as a real dramatic problem – was simply the remarriage that may have occurred during those five years.
It was in my newsletter.
Anthony Russo: Yeah.
Well, I thought five years is really … It's the hinge. You could have said four or six years, but if it was 12 years later, I think there would be no good argument to let him stay because people have moved on. And if it was five months later, there would be really no debate.
Joe Russo: Right.
So, I think it's interesting to put it at that time.
Joe Russo: Well, it's great too, because we're moving it forward. And it's a really crazy narrative decision to own, and it'll make things really interesting, because the universe in which these stories unfold is really strange.
Anthony Russo: The choice was mainly motivated by the fact that we wanted it to be far enough, where our main characters had reached a point of acceptance. They just had to accept it as their reality.
[ad_2]
Source link