For a studio that prides itself on letting directors continue their work, Warner Bros. is sure to be prone to a strange note of strong executive interference. Or so it might initially appear from Patty Jenkins’ recent comments on Wonder Woman 1984 on Marc Maron’s WTF podcast, which were later picked up by media around the world.
Discussing Gal Gadot’s first return as the Amazonian superhero in the acclaimed wonderful woman of 2017, Jenkins revealed that she initially fought in the studio to get her vision of Diana warm-hearted and loving, eventually gaining an approach on who would have seen her. the character who engages in extreme ultraviolence.
“I felt that they wanted to hire me like a beard; they wanted me to walk the set, being a director – but it was their story and vision, ”Jenkins said of her first experiences with the studio.
“Even when I first joined Wonder Woman, she said, ‘Uhh, yeah, OK, but let’s do it differently.’ But I said, “Women don’t want to see that. Being tough and tough and cutting people’s heads off … I’m a Wonder Woman fan, that’s not what we’re looking for. ‘Still, I felt that trembling nervousness from my point of view. “
Patty Jenkins
(@PattyJenks)I felt extremely supported in my vision of both films @wbpictures, @ZackSnyder all manufacturers and everyone on board our eventual team. It was just a long way to go. Let’s cool the dramatic titles like “war.” https://t.co/V7Tj1rOTBS
Since then, Jenkins has taken to Twitter to point out that he has rarely been “at war” with Warner Bros. and discussed conversations that took place over a decade ago (probably) with directors very different from those in finally, they enlightened Green Woman. Filmmaker Monster first began discussions about taking over a Wonder Woman film in 2007, but only for the better part of a decade later was she invited to make the film with full creative freedom. This makes sense when you watch the 2017 movie, which feels like a completely different beast than other episodes in DC’s early “extended universe”, such as Batman vs. Superman: Dawn of Justice.
Even the later Justice League, a lighter-toned business, clearly influenced by the success of the Wonder Woman, did not describe Gadot’s Amazon struggle as Jenkins would. 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 over-sexualized compared to his appearances in other films.
All of this brings us to Wonder Woman 1984, such a fun adventure that, while fun enough for hardcore fans, seems to have fallen into the typical superhero trap that previously affected Iron Man 2 and Thor: The Dark World of Marvel. Here is a film in which Jenkins clearly had complete creative control following the impressive takeover of his predecessor’s box office and almost universal critical acclaim. So why did he leave such a feeling of “meh?”
The sequences of the set pieces are spectacular – in particular, Jenkins’ opening bravery about a cross-country marathon that makes the modern Olympics look like a race of eggs and a spoon for a small child. Pedro Pascal of the mandalorian brings an unusual mix of humanity and bad-tempered brio chewing on furniture in the role of the villain Maxwell Lord, Gadot is as splendid as a statue in the lead role and her buzzing fish out of water Miraculously, Steve Trevor is a thing of joy.
The sequel is also closely linked to the essential mantras of the Wonderful Woman, her strong, independent femininity, kindness and grace. He does not pull his fists when describing masculinity to the most toxic, yet he completely avoids any descent into myopic misandry. These are shades of treasure.
So what don’t you like? Perhaps the only criticism that can be leveled at Jenkins is that there is little news other than the 80’s setting and a strange new MacGuffin to the essential makeup of Wonder Woman 1984. You can’t help but feel that if it were a Marvel movie, there would have been the possibility of introducing other superheroes to ease the burden on the other Princess Diana.
And yet Jenkins always preferred the independent approach. Eventually, the filmmaker had to make the film The Wonderful Woman he wanted to make, without any interference in the studio – again, a rare Hollywood achievement. It’s just a shame he didn’t manage – even – to pull out the same trick twice.