[Movies] New Posters And Photo For The Wolverine Posted by Joseph Lee on 06.25.2013
Plus James Mangold speaks...
IGN spoke with The Wolverine director James Mangold about the new film. They also revealed three new character posters (Mariko, Shingen, Harada) and a photo of the Silver Samurai that you can see below.
Here are highlights of the interview:
On how different the final version is from what he intended to do: "I think this is a unique thing in the sense that from when I came on, the process has been one of steadily moving it toward what I came on and presented. There are several advantages to this project. I think you get most of them, that it's obviously connected to, through casting and just kind of lineage, to the other movies. But it's also its own subset. It also exists in its own world. And that gave me a certain amount of freedom for Hugh and I to kind of do and say what we wanted. I think when I first came on the movie, the first thing -- looking at the existing materials -- that I was most interested in making a movie about and I felt could coexist with both the flagship plot movements of the Claremont/Miller saga and also the pieces I was inevitably gonna inherit from other films was this idea of the struggle of being immortal and the struggle of being forever and the struggle of knowing you could lose everyone you love. The first thing I wrote on the back of the script when Fox sent it to me was "Everyone I love will die." That's kind of what I wanted the movie to become about -- this idea that's always interested me. When I was a kid -- until they made it already -- I wanted to make a film about the Bicentennial Man, which was in a way about the same thing. I can't say the movie ended up being about that -- but the loneliness of a god, someone who lasts forever, must say goodbye to anyone they've ever loved because eternity is eternity after all. To add to that Logan's own curse, in a way, that he either brings or signals the downfall of everyone who he seems to love."
On when the film takes place: "The other thing that occurred to me, it was an assumption I made when I first came in and started talking to Hugh about the project -- an assumption no one else had made -- was that this movie took place after everything. It was an assumption I made just kind of looking at the comic and looking at the materials that existed. But it wasn't one they had made already. For me, the idea was really useful, that he had lost everyone, that no one was left, really. A) I didn't have the burden of trying to juggle balls of other X-Men that were still around -- that it's just all gone and that you were coming in to a place where he is suffering from the loss of his compatriots, suffering from the loss of mentors, suffering from the loss of loves, and with really no hope toward replacing any of them. That seemed like a really strong, thematic place to start, especially if we're gonna take him to another place, another land."
On if there will be a lot of Japanese: "Mangold: What I've tried to do for the most part was when people speak Japanese, they speak Japanese. The Japanese, many of them, are bilingual, and I'm not playing Hugh as bilingual when he enters the film so that, as an audience member, you do ride through. But there are times when it's wonderful. He's a stranger in a strange land, and people are talking, you don't hear what they're saying. You don't read subtitles either. You're just as lost as he is, trying to figure out who's saying what to whom -- a Japanese audience member won't be. But I enjoyed that it would play that way and that there would be a sense of "Oz" to it all, in the sense that he steps out the door of that plane and is in a land that he's got to decode and labyrinth that he's got to understand. It made the film more active, mentally, for him. Given that this is not a film with a gigantic, nefarious force trying to destroy the Earth or take over, the challenges that become different because the plot structure really runs counter to what most superhero tentpoles are. It's more of a mystery noir picture. It's less of a "Will he stop whatever-the-name-is from annihilating these three cities, football stadiums, countries, the Earth -- throw it out of orbit," any of that. The stakes are more personal. The stakes are much more grounded and about people you hopefully care about and not necessarily built on this "Will the world survive?" So it becomes really important to play on the mystery aspects -- and language becomes part of it, a culture that you don't understand from the beginning and are trying to carve out an understanding of."