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For a studio that prides itself on letting the directors do their job, Warner Bros. is certainly subject to the odd interference of management. Or it might initially appear from Patty Jenkins’ recent comments of Wonder Woman 1984 on Marc Maron’s WTF podcast, which were later picked up by media around the world.
Discussing Gal Gadot’s first turn as an Amazon superhero in the widely acclaimed Wonder Woman in 2017, Jenkins revealed that she first fought the studio to convey her vision of a warm-hearted Diana of Themyscira. and loving, ultimately winning on an approach that would have seen the character indulging in extreme ultraviolence.
“I felt like they wanted to hire me like a beard; they wanted me to walk around the set as a director – but that was their story and their vision, ”Jenkins said of her early experiences with the studio.
“Even when I first joined Wonder Woman it was like, ‘Uh, yeah, okay, but let’s do it a little different.’ But I was like, “Women don’t want to see this. She’s tough and tough and cuts off people’s heads… I’m a Wonder Woman fan, that’s not what we’re looking for. Still, I could feel this trembling nervousness from my perspective.
Patty jenkins
(@PattyJenks)I felt extremely supported in my vision of the two films by @wbpictures, @ZackSnyder all the producers and everyone on board our eventual team. It was just a long way to go to get there. Cool down on dramatic headlines like “war”. https://t.co/V7Tj1rOTBS
Jenkins has since taken to Twitter to point out that she was seldom “at war” with Warner Bros. and discussed conversations that took place over a decade ago, (presumably) with very different executives than those who ultimately ended up eco- enlightened Wonder Woman. The Monster director first started talking about taking a Wonder Woman movie back in 2007, but it wasn’t until the best part of a decade later that she was asked to finally make the movie on the loose. creative. It makes sense when you watch the 2017 film, which looks like an entirely different beast from other episodes of early DC’s “Extended Universe”, such as the dark, poseable-headed Batman vs. Superman: Dawn of Justice.
Even the latest Justice League, a clearer affair clearly influenced by the success of Wonder Woman, didn’t portray Gadot’s struggle with Amazon the way Jenkins would have. The filmmaker recently told Yahoo that she was “uncomfortable with who she was and how she was seen,” after director Joss Whedon oversaw scenes in which the superhero is overexualized in relation to his appearances in other films.
All of this brings us to Wonder Woman 1984, a mediocre deal that, while entertaining enough for die-hard fans, seems to have fallen into the typical superhero sequel trap that previously plagued Marvel’s Iron Man 2 and Thor: The Dark World. . Here’s a movie in which Jenkins clearly had full creative control after his predecessor’s impressive box office shot and nearly universal critical acclaim. So why did he leave such a feeling of “meh?”
The play sequences are spectacular – in particular, Jenkins’ bravura opening vision of a cross-Themyscira track and field marathon that makes the modern Olympics look like an egg and spoon race for everything – small. The Mandalorian’s Pedro Pascal brings an unusual mix of humanity and furniture-chewing villainous brio as the villainous Maxwell Lord, Gadot is as beautifully sculptural as ever in the lead role, and his fish-out-of-water banter with Chris. Pine’s Steve Trevor miraculously resurrected is a thing of joy.
The sequel is also closely tied to Wonder Woman’s core mantras, her powerful and independent femininity, kindness, and grace. He does not stand out when he describes masculinity in its most toxic form, while totally avoiding any descent into myopic misandry. These are nuances to be cherished.
So what’s not to like? Perhaps the only criticism that can be leveled at Jenkins is that there are few new things other than ’80s decor and a weird new MacGuffin for the essential Wonder Woman 1984 makeup. You can’t help but thinking that if this had been a Marvel movie, it would have been possible to bring in other superheroes to lighten the load on the other Princess Diana.
And yet Jenkins has always preferred the stand-alone approach. In the end, the director managed to make the Wonder Woman movie she wanted to do, without any interference from the studio – again, a rare achievement in Hollywood. It’s just a shame that she didn’t – quite – succeed twice on the same trick.
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