Speaking in front of a gathered audience on stage for The Director's Cut this week, filmmaker James Mangold offered a not-so-subtle dig at his compatriots in the Marvel and DC worlds. Enjoying the fame and acclaim that has come with his universally popular installment Logan, a title that closes the chapter on Hugh Jackman's time as the Wolverine, the director said that he was driven to create something with the Australian that will be valued for it's raw depiction of a classic character.
“There have been some wonderful movies made in the last 10 years — Guardians Of The Galaxy, the first Iron Man," began Mangold. "But they each had a personality of a filmmaker, but the collective world they’ve spawned is a little repetitive."
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Indirectly referencing movies like The Avengers and Batman v Superman: Dawn of Justice, the director drew parallels between watching those productions and mild forms of mental torture.
“There’s s*** blowing up and exploding and soundtrack and Dolby Atmos up the wazoo and my eyes are rolling up in my head,” he remarked to The Director’s Cut. “I kinda feel like Malcolm McDowell in (A) Clockwork Orange, or I feel like I don’t know what’s going on, but I do not care and my system is shutting down. Remember you went over to a friend’s house when you were younger and they thought this album was so great and they played it really loud and it’s terrible and you’re listening and they want it really loud and so it is, but there’s nothing speaking to you.”
Following the same vein as many critics for the likes of Man of Steel, a title that promised much before it's inevitable CGI-driven finale, Mangold put forward the idea that the build up to the showpiece event has to stand on it's own two feet.
"The thing that the studio thought would be the most appealing to fans, (that third act), you felt was the thing that was most disengaging. And the first 2/3rds of the movie that the studio was most worried about — I thought I was making a Wong Kar-Wai movie with Wolverine — they were thinking, ‘When is this thing going to get on track and we’ll have a big giant robot?’ And (those 2/3rds) was what was playing (best) to the audiences.”
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Although the filmmaker intimated that 20th Century Fox were attempting to shoehorn an established X-23 for his film, Mangold argued that the story needed a child to offer a point of difference.
“I did not want the X23 from the comics who was 18-25," he said. "Mostly because I felt like it would feel like one of those CW show with all the young, beautiful people as superheroes. I wanted a daughter, like in Paper Moon or The Bad News Bears. I did not want the hot, sassy young thing, plus the outfits she wears in later years are ludicrous.”
Source: The Playlist