Post by jo on Jun 21, 2023 16:00:01 GMT -5
variety.com/2023/film/news/indiana-jones-5-james-mangold-harrison-ford-1235650894/
James Mangold is interviewed by Variety on his approach as a filmmaker and his now more storied-career. Inevitably, there is a question on whether he is interested in film franchises.
Excerpts;
James Mangold is interviewed by Variety on his approach as a filmmaker and his now more storied-career. Inevitably, there is a question on whether he is interested in film franchises.
Excerpts;
When I ask how Mangold approached making the film his own, however, he corrects me. “I wasn’t looking to make the movie my own,” he says. “I would say I was looking to have a voice.” More than practically any other film franchise in cinema history, “Indiana Jones” is inextricably associated with one filmmaker, and Mangold had no interest in changing that.
“You don’t want me doing a knockoff Steven, but I want to be playing from the same hymnal, using the same tools,” he says. “I mean, I’m pinch-hitting for Babe Ruth. I at least have to use my own swing some of the time. But the reality is, every day I’m thinking of what he would do, how he would do it. In any way I could, I wanted to do the movie in his style. It didn’t feel threatening to me at all.”
Mangold knew comparisons were inevitable, so he wasn’t exactly shocked when the premiere of “The Dial of Destiny” at the Cannes Film Festival in May drew a muted reaction from critics. “When you’re in franchise land, it’s very hard for critical thinkers” — meaning journalists — “to overlook what I’m sure their editors want, which is this business prism of how does it rate to the other ones?” he says. “I always thought if I were second or third best to one of the greatest films of all time, I’d be good. I mean, it all vaporizes later. Either the movie will live or it won’t.”
Mangold talks about this with the kind of good-natured forbearance built up over decades in the studio trenches, so I’m surprised by how animated he gets when I bring up the future of Phoebe Waller-Bridge’s character, Helena Shaw, Indy’s goddaughter. Mangold and the Butterworths wrote Helena specifically for Waller-Bridge, seeing in her the same kind of pluck and resourcefulness that made Karen Allen’s Marion Ravenwood a perfect foil for Indy in “Raiders.” I ask if he has talked with Disney and Lucasfilm about the potential for Waller-Bridge to carry on the franchise. Mangold smiles and waves his hand dismissively.
“I’m not interested,” he says. “I refuse. I just can’t do it.” He gestures to the rules hovering just over his shoulder. “The amount of lore and Easter eggs and fan service starts to become antithetical to any of this stuff at a certain point. It isn’t storytelling anymore. It’s large-scale advertising.” (For her part, Kennedy says that while it’s “entirely possible” that a Helena Shaw movie could happen, “we’re not having any of those conversations right now. We’re just focused on finishing this with Harrison.”)
At the same time, Mangold seems resigned to the inevitability of the franchise economy. For instance, Hugh Jackman will return in 2024 as Wolverine in a Marvel Studios film with Ryan Reynolds’ Deadpool, seven years after Jackman retired the character in “Logan” — the film that earned Mangold his first Oscar nomination (for adapted screenplay). “I can’t say that there’s a part of me that doesn’t wish that we’d let it be,” he says. “But there was always going to be another Wolverine. There could be a baby Wolverine and a cartoon Wolverine. As much liquid as they can squeeze out of that rag, they’re going to try to. I don’t measure my success on a movie like ‘Logan’ with whether we ended the conversation. I ended my conversation.”
“You don’t want me doing a knockoff Steven, but I want to be playing from the same hymnal, using the same tools,” he says. “I mean, I’m pinch-hitting for Babe Ruth. I at least have to use my own swing some of the time. But the reality is, every day I’m thinking of what he would do, how he would do it. In any way I could, I wanted to do the movie in his style. It didn’t feel threatening to me at all.”
Mangold knew comparisons were inevitable, so he wasn’t exactly shocked when the premiere of “The Dial of Destiny” at the Cannes Film Festival in May drew a muted reaction from critics. “When you’re in franchise land, it’s very hard for critical thinkers” — meaning journalists — “to overlook what I’m sure their editors want, which is this business prism of how does it rate to the other ones?” he says. “I always thought if I were second or third best to one of the greatest films of all time, I’d be good. I mean, it all vaporizes later. Either the movie will live or it won’t.”
Mangold talks about this with the kind of good-natured forbearance built up over decades in the studio trenches, so I’m surprised by how animated he gets when I bring up the future of Phoebe Waller-Bridge’s character, Helena Shaw, Indy’s goddaughter. Mangold and the Butterworths wrote Helena specifically for Waller-Bridge, seeing in her the same kind of pluck and resourcefulness that made Karen Allen’s Marion Ravenwood a perfect foil for Indy in “Raiders.” I ask if he has talked with Disney and Lucasfilm about the potential for Waller-Bridge to carry on the franchise. Mangold smiles and waves his hand dismissively.
“I’m not interested,” he says. “I refuse. I just can’t do it.” He gestures to the rules hovering just over his shoulder. “The amount of lore and Easter eggs and fan service starts to become antithetical to any of this stuff at a certain point. It isn’t storytelling anymore. It’s large-scale advertising.” (For her part, Kennedy says that while it’s “entirely possible” that a Helena Shaw movie could happen, “we’re not having any of those conversations right now. We’re just focused on finishing this with Harrison.”)
At the same time, Mangold seems resigned to the inevitability of the franchise economy. For instance, Hugh Jackman will return in 2024 as Wolverine in a Marvel Studios film with Ryan Reynolds’ Deadpool, seven years after Jackman retired the character in “Logan” — the film that earned Mangold his first Oscar nomination (for adapted screenplay). “I can’t say that there’s a part of me that doesn’t wish that we’d let it be,” he says. “But there was always going to be another Wolverine. There could be a baby Wolverine and a cartoon Wolverine. As much liquid as they can squeeze out of that rag, they’re going to try to. I don’t measure my success on a movie like ‘Logan’ with whether we ended the conversation. I ended my conversation.”