Hang up the phone.

Lehman asked about the later progress of "Spartan 300 Warriors 2".

This film that maintains the usual killing painting and slow-motion processing of the previous work, the material has been processed. According to the producer Veselin Karachev, who was invited by Director Za, who was responsible for the film control, said that because the plot is slightly closer, the drama is not as good as the first one, but the war scenes are more grand, and the naval battle is more shocking than the intuitive feeling of land wars.

Of course, Lehman has become accustomed to director Zha’s ability to tell stories. No, it’s not that he can’t tell stories, but that he has a weak ability to control the plot. Only by giving him a good book can he perform, and he cannot make a simple story more impactful arrangement.

Simply put, Director Zha is essentially a technical director, and his creative ability cannot keep up with his understanding of camera language and aesthetics.

But it doesn't matter. Director Za's commercial pragmatic psychology and polished crew experience are very demanding for the company. Moreover, the script for "300 Warriors 2" is not excellent enough for the chapter "Xerxes", so it's no wonder that the crew's brain is not good.

night.

Lehman returned home and snuggled up with Eva for a while, her body relaxed, but the ocean of her mind still showed a state of fluctuation, and her thoughts drifted far away.

He sometimes remembered the Monster Universe, sometimes remembered what needs to be mentioned in the Soul-Conjuring Universe, and sometimes he was confused about the idea of ​​the world.

It’s not that I don’t want the Hulk to be good, nor do I don’t know how to shoot the sequel. After all, Marvel never accepted Hulk in her previous life, which was the result of a combination of various factors. For example, Marvel was acquired by Disney. Although Kevin was the planner of the entire MCU universe, he had to respect the opinions of his parent company, otherwise the style would not become soft all the way. However, Hulk is destined to be less "just" because of Hulk’s will. Just like the Nolan version of Batman fighting crime is defined as wandering outside the boundaries of the law. Once the Hulk loses control, it will definitely be a team hazard and social trouble, as well as the key targets criticized by the public and the media.

Do you remember how the Joker took off and pushed Batman off the altar? Hart's depravity is one of them, but what cannot be ignored is the Joker's inspiration to the hearts of the people. His words "My goal is Batman. He doesn't show up for a day, and he hides his head and tail and hides his tail, and I will kill an innocent person." It directly caused Batman to suffer the greatest public pressure, and led the contradiction from terrorism to such a righteous messenger who is not regulated by law.

The same is true for the Hulk. Disney's approach is to reduce its hidden dangers, embed it into the team as a comedy character, and artificially ignore the dramatic conflicts in it, so there is no need to start the show and dig deeper.

In addition, in the original time and space, Edward Norton and Marvel had a falling out, and experienced a series of things such as losses and recasting. Considering the actual interests, Disney doesn't pay much attention to Universal...

The most important thing is that Disney cares a lot about image, and the protagonists in the toys and IP world have always relied on justice rather than controversy to export culture. Why can the Nolan-like Batman trilogy achieve such reputation and success? Especially the second chapter of "The Dark Knight", it is because Nolan created contradictions too exquisitely, and it may be difficult for him to surpass in his life.

Disney is very smart. It knows that a moment of talent is needed between a passing line and a high-quality work. It does not want to catch creative inspiration that may not be obtained by subjective considerations. Instead, it is stable and step-by-step output value is enough, because once there is a controversial contradiction, it will ruin Marvel's bright future. Is Disney afraid of losing money and not daring to shoot? A-class masterpieces will lose only 100 million or 200 million. Will Disney, a wealthy Disney care about this?

It is afraid that "Invincible Hulk 2" will continue to fail, and the concept of the team of "Avengers" is difficult to talk about. An investment of 100 million or 200 million is a small matter, and it is a big matter that cannot have problems with the long-term capital flow with a higher upper limit.

Lying on the bed, his thoughts were turbulent, Lehman remembered the theme chapter of the Civil War again.

In his previous life, Marvel paved the way for Tony Stark to have some psychological problems. In layman's terms, it is difficult for soldiers to return to normal life after the war, including insomnia, many dreams, fickleness, night sweats, anxiety, and panic. In short, after the New York War, Teacher Tony was trapped by the pressure given by both physical and psychological aspects, and vaguely made the earth not a battlefield for other alien races. The prototype of the umbrella plan was created, and it also annotated the destructive restrictions on superheroes after "Avengers 2: Age of Ultron" and Ultron, and wanted to have a transparent behavioral logic for the destructive restrictions of superheroes.

Kevin has ideas for the foresight of this narrative and the preparation of the content. Of course, Lehman also gave some suggestions, such as the third Iron Man is the ending work of a single-line character, rather than the closed loop of Iron Man, and cleared up a flaw.

Fans who have followed the MCU from beginning to end know that the framework of "Iron Man 3" will be more and more fragmented when it develops, because when the Marvel team considers this, they plan to have a good start and end, giving Teacher Tony a very deep, special, and very closed loop perfect end.

But the problem is that after "Iron Man 3", Robert Downey Jr. will appear in other Marvel Universe works, and he has not completely withdrawn, which has caused "Iron Man 3" to be deeply immersive in the establishment of character design.

For example, at the end he used all the steel armor as Christmas fireworks, and the meaning was nothing more than: when the prosecution had strong force, it would also breed a threat to the world from villains. The producers refer to the nuclear threat that is full of lethality in real society, that is, the more powerful a country's weapons, it would cause other countries to have to join the arms race and enter a spiral vortex.

The artistic conception of "removing the armor and returning to the field" is a very advanced treatment.

However, such a metaphor will appear a bit ridiculous when it comes to the Marvel Universe, because in the next works, Tony's Iron Armor will have to be upgraded.

This makes many movie fans revisiting this movie with the most judgments.

Marvel has made the final version of Iron Man, and after thinking about the script several times, it took a lot of effort to establish long-term narratives. However, as a superhero who opened the door to the Marvel Universe, based on the market and popularity, it is impossible to give up in three episodes. This contradiction was exposed thoroughly in "Iron Man 3".

In this regard, Lehmann’s advice is not to think so much about it and explore the advanced sense.

Kevin was afraid that there would be no story to tell later in this single-line series, and Lyman understood it. After all, "Iron Man 2" has proved that the routine creation of portraying a villain and winning a villain is a filter destruction of a reputation character. With more damage, how much can the audience love this character?

But on the other hand, the Marvel team's handling of the problem was not smooth enough and they wanted to raise Iron Man's intentions too much. This physical confrontation reflected in the elemental poisoning in the second part and the psychological confrontation based on the New York War in the third part were too deliberate.

Why do audiences like Iron Man?

In addition to the empathy between actors and characters, shouldn't the audience like the concept of superheroes? It is precisely because they have the spirit of defending the world and the ability to do such a thing in essence.

This ability is beyond ordinary people. If it is an ordinary person, the audience is an ordinary person, and no one believes that it can be done.

To put it pretentiously, do the audience like to take off the armor? No, what everyone likes is that he who has become a hero by wearing armor with his genius R&D ability.

In other words, the theme of the third part is wrong. We shouldn't worry about whether the armor or not. PTSD is right. We are worried about the future that Tony can do, but forcibly making Tony and the steel armor antagonistic, instead denying Tony himself in disguise.

Besides, Tony doesn't need to inject too much tragic color.

He is a romantic wanderer, a scientific research genius, and a responsible man. There is no such thing as taking off the Iron Armor, and Tony is still a superhero. He is Iron Man, and Iron Man is Tony, so there is no need to deliberately distinguish them.

Originally, after explaining the creative direction to Kevin, the plan was arranged like this. After the battle with the lame man, Tony wore armor to continue the climax of the press conference in the first part, reaffirming himself as Iron Man, clearing up psychological obstacles, and then slowly leading to the subsequent civil war incident.
Chapter completed!