Ryan Reynolds, Hugh Jackman & Director Shawn Levy on Convincing Marvel to Make Deadpool & Wolverine
Summary
TLDRIn an engaging conversation, the creators and stars of a new movie discuss the creative process, including a memorable 17-minute voice memo from Hugh Jackman. They delve into the challenges of crafting a story that honors both Deadpool and Wolverine, the importance of character development, and the excitement of bringing these iconic characters to life together.
Takeaways
- π¬ The script discusses the creative process and collaboration involved in making a movie featuring Deadpool and Wolverine, highlighting the importance of the characters' dynamic and the actors' commitment.
- π± A significant moment in the movie's development was triggered by a 17-minute voice memo from Hugh Jackman, which provided crucial insights and ideas for the film's direction.
- π‘ The concept for the movie came to Ryan Reynolds while on vacation, and he immediately shared it with his team, demonstrating the spontaneous nature of creative inspiration.
- π The film aims to service both Deadpool and Wolverine as characters, ensuring that their arcs are satisfying and that their joint adventure feels organic and impactful.
- π€ There is a strong emphasis on the camaraderie and mutual respect between the actors, writers, and producers involved, which contributed to the movie's quality.
- ποΈββοΈ Hugh Jackman talks about the physical transformation required for his role as Wolverine, emphasizing the discipline and commitment necessary to embody the character.
- π¨ The interview touches on the design of Wolverine's suit and how it has evolved over time, reflecting the character's iconic status and the evolution of superhero costume design.
- π The movie is described as an 'injection of tone' into the genre, suggesting that it brings a unique flavor to the superhero film landscape, possibly influencing the broader cinematic universe.
- π The film is R-rated, and the creators discuss the balance between maintaining the character's crass humor and ensuring the film is appropriate for its intended audience.
- π There is a sense of excitement about the film's potential to bring people together in theaters for a shared, immersive experience, especially in a time when such experiences are highly valued.
- π The script also hints at the challenges and negotiations with the studio, particularly Marvel, in terms of character inclusions and the film's place within the larger Marvel Cinematic Universe.
Q & A
What was the initial reaction to receiving a 17-minute voice memo from Hugh?
-The initial reaction was one of surprise and slight trepidation, as a 17-minute voice memo is quite long and unexpected. The recipients questioned why a call or text couldn't be used instead.
How did the voice memo impact the development of the script?
-The voice memo from Hugh had a significant impact, as it triggered a series of epiphanies that helped shape the narrative. It contributed to the writers' understanding of the characters and the direction they wanted to take the story.
What was the turning point in the scriptwriting process?
-The turning point was when Hugh joined the project and suggested the inclusion of Wolverine, which led to a new direction for the story and a clear vision of what the movie would be.
How did the collaboration between the actors and writers enhance the movie?
-The collaboration was crucial, as both actors provided valuable input not just as performers but also as writers and producers, ensuring that every character was well-developed and cared for, as if they were their own creations.
What was the significance of the 'why' in making the movie?
-The 'why' was significant because it provided the motivation for creating the movie. It was about exploring the dynamic between Deadpool and Wolverine and offering a fresh take on these iconic characters together.
How did the creators ensure that the movie was more than just a comedy?
-The creators focused on structuring a narrative that felt emotional, anchored, and real before working on the comedic elements. They aimed to make a great movie first and then enhance it with humor.
What was the process like for Hugh in preparing for the role of Wolverine?
-Hugh had to get into the best shape of his life for the role, which involved intense physical training and discipline. He also had to mentally prepare himself to fully embody the character.
How did the R-rating of the movie influence its content?
-The R-rating allowed the creators to stay true to the character of Deadpool, who is inherently crass and irreverent. It enabled them to explore the character's unique personality without restrictions.
What was the reaction to the idea of Deadpool and Wolverine being in the same movie?
-The idea was met with excitement and anticipation, as it was seen as a fresh and unique pairing that would bring a new dynamic to both characters and their respective legacies.
How did the creators approach the balance between honoring the characters' histories and introducing new elements?
-They acknowledged the long legacy of both characters and incorporated references to their pasts while also exploring new aspects of their personalities and relationships to create a unique story.
What was the atmosphere like during the production of the movie?
-The atmosphere was intense and passionate, with the creators continually striving for improvement and perfection. There was a sense of love and dedication to the project that kept them engaged and eager to make the movie the best it could be.
Outlines
π¬ The Creative Genesis of a Superhero Duo
The first paragraph discusses the creative process behind a film featuring the iconic pairing of Deadpool and Wolverine. The story recounts the moment when Ryan Reynolds, while on vacation, had a sudden inspiration for the movie during a drive to the beach. He immediately called Ryan to confirm his commitment. The paragraph also highlights the collaborative effort with Kevin Feige and Marvel to develop the story, emphasizing the importance of finding a compelling reason for the film to exist beyond just the novelty of the character pairing. The narrative focuses on the characters' arcs and how they grow through their shared adventure, with a particular emphasis on the selflessness of the actors and the care they took in developing every character in the movie.
π Reflections on a Legendary Role and Creative Input
In the second paragraph, the discussion centers on the deep connection the actors have with their characters, particularly Hugh Jackman's relationship with Wolverine, a role he has played for 25 years. The actors share their appreciation for the care and attention given to every character in the film, comparing the writing process to nurturing one's own children. The paragraph also touches on the creative input from Hugh Jackman, who sent a lengthy voice memo with his thoughts and ideas for the script, which significantly contributed to the film's development. The actors reflect on the process of crafting a narrative that is both emotionally grounded and comedic, aiming to create a great movie first and then infuse it with humor.
ποΈββοΈ Commitment to the Role and the Evolution of Wolverine
The third paragraph delves into the physical and mental transformation required to play the superhero characters, especially for Hugh Jackman as he steps back into the role of Wolverine. The commitment to getting into the best shape of his life for the role is highlighted, as well as the desire to give everything to the character. The paragraph also discusses the creative process of evolving Wolverine's character and the MCU as a whole, with the freedom to explore different aspects of the character that were previously unexplored. The suit design for Wolverine is also mentioned, with an appreciation for the engineering and design that goes into creating such an iconic costume.
π The Impact of R-Rating and the Future of the Characters in the MCU
The final paragraph addresses the R-rating of the film and the considerations for its audience, suggesting that while the film is intended for mature audiences, it remains true to the character's nature. The conversation also includes the actors' thoughts on the possibility of appearing in future Avengers movies within the MCU, expressing openness to the idea. The paragraph concludes with reflections on the unique experience of watching a movie in a theater and the importance of creating a spectacle that draws people together, as well as the challenges and opportunities presented by the film's rating and content.
Mindmap
Keywords
π‘Voice Memo
π‘Script
π‘Wolverine
π‘Deadpool
π‘R-rated
π‘MCU
π‘Narrative
π‘Character Arc
π‘Pansexuality
π‘Spectacle
π‘Connection
Highlights
Hugh sent a 17-minute voice memo to the team, sparking a pivotal discussion about the script.
Ryan and Hugh were working out together when they received the voice memo, leading to an impromptu gym listening session.
The story for the movie came together quickly after Hugh joined, solidifying the direction within a day.
The idea for the movie struck the director while driving to the beach on August 14th, leading to an immediate commitment to the project.
The team aimed to create a compelling reason for the movie to exist after the success of 'Logan'.
The 'why' of the movie was the pairing of Deadpool and Wolverine, offering a fresh dynamic.
The writing process focused on servicing both characters and acknowledging their long legacy.
The first 'Deadpool' movie hinted at the character's wish to team up with Wolverine.
The team had a Zoom meeting with Feige where they discussed the new direction involving Wolverine.
The challenge was to tell both characters' arcs satisfyingly, ensuring each had their own growth.
Both actors were selfless, caring deeply for every character in the movie.
Hugh's voice memo contained initial thoughts and ideas that significantly influenced the movie's writing.
Hugh's physical transformation into Wolverine was remarkable, adding depth to the character.
The suit for Wolverine was a crucial element, designed with great care and engineering.
The movie's R-rating is integral to the character of Deadpool, reflecting his crass nature.
The team was cautious about the appropriate age for viewers, suggesting it might not be suitable for very young children.
Being part of the MCU allowed for unrestricted access to characters and mythology, enriching the movie.
The movie's tone is unique, injecting a different flavor into the genre.
The team values the communal experience of watching movies in theaters, recognizing its irreplaceable magic.
Transcripts
- Hugh also unlocked the biggest thing in the,
I remember he sent us a 10-minute voice memo.
- It was more like
17 minutes. - Yeah,
which is a terrifying thing to get from anyone.
You're like, "17 minutes?"
- The story gets weirder, right?
- It was 16, yeah- - 'Cause Ryan and I
were working out together,
which already is just like a really shaky premise
to any anecdote.
Like, what am I doing in that gym?
And we get this text and it's like a voice memo
and you click on it and we see it's like 17 minutes.
We're like, "The guy couldn't just call?
He couldn't type?"
So, we're literally like spotting each other, listening.
We connected Hugh's voice memo
to the Bluetooth speakers
in the gym. (Hugh speaks indistinctly)
And it was Hugh scratching at,
"I'm happy with the script, but is there more?"
(upbeat music)
(dramatic music)
(Deadpool groans)
- Don't just stand there, you ape.
Give me a hand up.
(metallic claws screech)
Nope, I'm actually okay.
- We had been trying to craft a story for several months
and we had some interesting approaches.
We had some seeds of an ideas.
We were in conversations with Kevin Feige and Marvel,
but it never quite gelled.
But literally within a day of Hugh joining this story,
my recollection is we knew, we knew what the movie was.
- Just came to me like that.
Really one day driving down,
it was August 14th, I want to say,
driving down to the beach and it was a summer
and I was on a vacation,
and on my way there, my mind was just drifting
and it just came to me, "I really want to do this."
And I knew it 100%
and I couldn't wait to stop the car.
Literally stopped the car, got out, and called Ryan
and I said, "I wanna do this."
He said, "Are you serious?"
I said, "I'm serious."
And I hung up the phone.
I thought, "I should probably call my agent."
But basically I'd just said yes.
And I said to both of these guys,
I said, "We really want to do this,
we've gotta make a really good reason for it to exist."
After "Logan," you know, I was really happy with "Logan."
I felt we'd sort of landed the plane really well.
And so we have to find a way
to make this exist in its own right.
- And that was the why.
The why is the duo.
That "Deadpool 1," "Deadpool 2," are fantastic movies,
Hugh's been in incredible Wolverine movies,
but this pairing, that's new and that's a why.
And so the writing of the story
and the making of the movie
really became kind of an exploration
of, well, what does this become
when these icons and these men, these characters,
are thrust together?
- And how do we service both of them?
- Yes.
- And also kind of acknowledge this like long legacy
of wish fulfillment,
which is, for me personally, part of that wish fulfillment
is that I was desperate
to do this the right way with him at some point,
but the signs are all there.
I mean, it's all "Deadpool 1," opened,
the first line of the movie is me talking about him.
The last most emotional part of the film at the end
is me taking my mask off
and I've stapled Hugh's fucking face to mine
because I'm so embarrassed about how I look under the mask,
revealing to the love of my life, this girl Vanessa.
And then, you know, in the second movie as well,
we open with the you,
I had them make a music box of Hugh
with the tree thing stabbed through his heart
and as he goes around,
and I still have the music box.
It's one of my favorite things I own.
And just acknowledging all that stuff,
you know, the landscape of how many different references
there've been to this wish that Deadpool's had,
but also that I've had,
is to ride with my best buddy and make this,
you know, 'cause in some ways,
it's a love story between these guys.
- That call was a Monday.
We had a Zoom meeting on Wednesday
that was scheduled with Feige
and Ryan and I, we had acknowledged to each other
over that weekend, "You know what?
Maybe it's not gonna happen right now.
We're not coming up with the story
that feels inarguably worth making."
Hugh called on a Monday, Ryan called me,
we get on that Zoom with Feige on that Wednesday,
and he's like, "Guys, look,
I get maybe we're not quite cracking it,"
and we were able to say, "Actually, new wrinkle."
- Yeah.
- "What would you say to the Wolverine?"
And from then on, it was off to the races.
The real challenge for us in the writing process
and through making it was this is both of their movies
and we need to satisfyingly tell
both of these characters' arcs
and how they grow
because of this adventure they went on together.
- I wanna say something,
because the selflessness of both of them
is so evident in the movie.
These are two heavyweight actors, yeah, but,
I mean, characters,
but these guys as writers, producers,
have taken care of not just Wolverine,
but every single character as if it's their own children.
And that's how I felt.
I was like, "I've never felt such care
for a character I've played for 25 years and known for 25,
I've never felt such care."
And some of the scenes and the dialogue,
I was like, "This is such a gift."
But it was not, I witnessed it not just with me,
with every single character that appears in this movie.
It's as if you're writing for your own children.
That's how it felt to me.
And I wanna make this distinction
because the three of us are sitting here
and these guys produced and wrote this movie,
bled till there was no blood left.
And by the way, still, as soon as we finish this,
probably going to work on it some more.
- Yeah, yeah.
- So, in terms of the movie teaching,
the process of the movie teaching them how to move,
but the edit to the mix to every part of it,
and I publicly just wanna say how grateful I am.
- Well, he also just,
I know, we won't belabor the creative part of it too long,
but Hugh also unlocked the biggest thing in the,
I remember he sent us a 10-minute voice memo.
- It was more like
17 minutes. - Yeah,
which is a terrifying thing to get from anyone.
You're like, "17 minutes?"
- The story gets weirder, right?
- It was 16, yeah- - 'Cause Ryan and I
were working out together,
which already is just like a really shaky premise
to any anecdote.
Like, what am I doing in that gym?
But this is true.
And we get this text on our chain
that is this endless kind of three-person text chain,
and it's like a voice memo
and you click on it and we see it's like 17 minutes.
We're like, "The guy couldn't just call?
He couldn't type?"
So, we're literally like spotting each other, listening.
We connected Hugh's voice memo
to the Bluetooth speakers
in the gym. (Hugh speaks indistinctly)
And it was Hugh scratching at,
"I'm happy with the script, but is there more?"
- But also taking all this experience he has,
not just playing Wolverine, but as an actor,
as a guy who's fronted movies
in every genre you can think of.
And whenever you write a movie like this,
I think the important thing is to not write a comedy,
is to write a great movie
and then work on the comedy afterwards.
So, we were really just trying to structure a narrative
that felt emotional and anchored and real.
And he was scratching at something
that was at first a little opaque
and then suddenly came into view
and then it triggered- - And like minute 12,
minute 13, minute 14. - Triggered epiphany
after epiphany after epiphany.
So, he really, so, you do have a huge hand
in writing the movie as well because of that.
I think it unlocked
this incredible, yeah. - Yeah, thanks, man.
- One of my favorite parts of the film
and your character in the film
is from that voice memo.
- At some point I say, "I am repeating myself
and I'm going around." - I think at one point
you said, "If you guys are still listening
to this." - That's right.
And it was inarticulate. It was embarrassing.
- Oh, it was great. - But some,
I learned this from my acting teacher.
When you first read a play or a script,
write down everything you think
'cause you never have those eyes again.
- Mm-hm.
- And so I read the script
and I just immediately did a voice note,
and I didn't call because I wanted it
just to be my (mimics retching) without any questions.
And literally 16 minutes of it is crap.
But there's probably a minute in there that ends up,
because you're just going,
"Ah, and there's something in this.
I don't even know what,
hang on, Liv, I'm just going to the bathroom.
Hang on one sec."
And (mimics toilet flushing) anyway,
but one- - He had flow too, real loud.
- Yeah, no, healthy flow. - It was robust.
Vibrant. - Robust flow.
- Hi, peanut.
I'm gonna need you to come with me right now.
- Look, lady, I'm not interested.
- With Hugh stepping into the role of Wolverine,
you know how like when you watch somebody
the first time they step into something that is that iconic,
it's just like they just knew a language
or understood something about that character
that nobody else would've thought of or felt?
Johnny Depp in "Pirates of the Caribbean,"
that first one where you're like, "Is he drunk?"
- Right, what am I seeing? - "Is this a Disney movie?
Is the lead character, like, hammered with gold teeth?"
You know, you just go, "No, you can't."
But you realize that that person has got their finger
on something that is sort of perfect
in its own imperfection
and I love that.
But I notice you see that with you.
Eddie Murphy in "The Nutty Professor" movies.
Again, you'd be like,
on paper, you'd go, "Well, that's,
I don't know if that's gonna work.
That's very risky." - But sometimes
what it's waiting for is a character
is waiting for the actor who's meant to play them.
And I will say as the director on this,
when you're on set every day
and you're watching not only two great actors,
but in the roles that they are somehow magic in,
where it's tapping into parts of Ryan, parts of you,
that are so intuitive and so singular and unique to them,
that's why it's such a treat for us as an audience.
And to get both these guys onscreen together
is the biggest treat I can imagine.
- [Interviewer] How does life change for you
when it's time to play Wolverine?
- Part of me likes it. I'm super lucky.
I'm 55 and my job's saying,
"We need you to get in the best shape of your life."
Like, I wouldn't do that if I didn't have the job to do it.
And also, there's no part of my DNA that's gonna do 95%.
I don't want to do a job that I feel I can do 95%.
I just want to give everything.
And coming back and working with two people
who are giving 3,000%
and giving me this runway for this character that,
you said something really good,
not only different in time,
but also those parts of Wolverine that I've scratched at
and never fully been able to unleash.
- I know people make too much of this in movies anyway,
it places some weird expectation for a lot of actors,
but that was remarkable.
I mean, you started looking like Tommy Tune
and you packed on- - That's true.
- An entire other Hugh. - Hugh.
- Like, it was just like one of the,
I mean, we had a year or so,
but, I mean, it was still unreal.
That was one of the most unreal things I've ever seen.
It's twofold.
For me, it's not so much about the aesthetic thing,
but I have to fill out the suit, you know,
and you want to feel like you're,
I think you want people to see
that you're putting in the work.
And for me it's just a head space.
It's like the discipline of having to do that.
Even if I don't have to, I want to.
It just makes me feel like I earned it.
You know, I have an intense relationship with Deadpool.
I have always had an intense relationship with Deadpool.
So, you know, one of the things Shawn and I talked about
when we were on the set of "The Adam Project,"
when I was like, "Will you please direct this movie,"
is that it's hard.
You know, it's like once you feel like you have it perfect,
you have to make it 20 or 30% better.
And that's a weird thing to,
it's a weird way to think during a creative process,
and it really helps.
I mean, it doesn't actually literally have to be 20%,
but it helps you think that way
and stay hungry for improvement.
And I love it.
So, it's like, yeah, it's a,
yeah, it's gonna be a tough transition to not be doing this
at some point. - It's like the,
it's like the infatuation of a love affair.
It can ruin your life and it can drain all of you.
But it also makes you feel fully alive.
And that is how it feels now
as we keep delaying the locking of picture.
Tomorrow, tomorrow, tomorrow.
Well, what if we try this? What if we try this?
And it's because it's the great love
I don't wanna let go of.
Like, I never want to not be making this movie.
- My middle daughter said,
"Daddy, when can you stop Deadpooling?"
Soon, baby. I promise.
Daddy's gonna do nothing for a year after this.
- You do have to stop wearing that mask in the house.
It's weird. - Yes, that's just
getting weird. - There's therapy
coming down the pipe. - Blake insists.
I don't know. I just do it.
I do what she says, you know.
- [Interviewer] Since Deadpool is famously pansexual,
is there sexual chemistry or tension
between Deadpool and Wolverine?
- I can't speak for Wolverine,
but I feel like Deadpool has a kind of sexual tension
with everything and everyone.
There's always a, you know- - Don't deny it's special.
Don't deny the specialness.
There is- - You're right.
I feel it right now.
My God, like two magnets facing the wrong direction.
(Hugh laughs)
Yeah, no, he's kind of hypersexual really as well.
- But with Wolverine, I would say this,
it's more that Wade and Deadpool,
he's a fan of Logan's.
He's a fan of the Wolverine.
And so I'd say other than the fact
that they drive each other crazy,
or more to the point, he drives him crazy,
offscreen and on,
there's a reverence, there's a fanboy love.
βͺ Life is a mystery βͺ
- I don't know anything about saving worlds.
βͺ Everyone must stand alone βͺ - But you do.
- I think we barely talked about the suit
in the early development
because it was just a no-brainer.
You don't do this character now unless he's in a suit.
I mean, it was just like an obvious,
but then making the suit,
these guys that make these suits,
which Russ Shinkle at Film Illusions,
I mean, it's engineering.
It is a level of design that is taken for granted, frankly,
once it's actually done and made.
I mean, it's just a work of art.
- It is.
When we first started this in 1999,
there was like, "Oh, we can't have technicolor.
We can't have all those,
that's not gonna work."
And so everyone was in black leather basically.
And some part of my brain
I think was a little institutionalized
that, oh, that's the way it is.
And then gradually watching the Marvel movies,
I'm like, "Ah, yeah, this actually looks really cool.
That looks great."
And as soon as I put it on,
I can't believe I never had it on before.
It felt right. It looked right.
It was incredible.
The design of it is incredible,
and I loved it.
- [Interviewer] For a lot of Marvel fans,
this might be their first R-rated movie.
How young is too young to see this movie?
- It's obviously R-rated
and I don't wanna get in trouble by encouraging-
- I do.
- Okay, how do you feel?
- So many kids,
so many kids have seen both "Deadpool 1" and "Deadpool 2,"
and, you know, I would say that this one uses
all the sort of most essential aspects of those movies.
But it's never rated R just to be rated R.
I mean, a lot of it is just that's the character.
The character's very crass.
He's like, god, his brain is like a half-eaten omelet
if a half-eaten omelet
was like inside the skull of a seven-year-old
half the time. - Exactly.
- I mean, it's a very particular thing.
But he's a kind of shaggy dog character.
My own kids have seen it.
I mean they're, you know. - And mine.
- Yeah, and they came damaged, so, yeah.
- I'm gonna be responsible here.
Don't bring a two-year-old.
I think a two-year-old-
- Nope, we don't bring- - Okay, fine.
- A two-year-old. - We draw the line
at three. - Just the sound level
is really high.
I would limit it. - Yeah, yeah.
- Thank you, Hugh. - Yeah, no problem.
- Don't bring a 114-year-old
'cause that person will not be alive.
- Just on both edges of life, not appropriate.
But everything in the middle.
- Anyone in a diaper. Yeah.
- [Interviewer] Now that you are all
officially part of the MCU,
would you be open to appearing in Avengers movies?
- Oh, I don't know.
Yeah, it's...
Yeah, we'll see.
(Hugh whistling)
Yeah, what he said.
- You can just, now is where you go
to the descriptive part of the article
and you say, "Shuffling in seats
and stammered." - Shuffling uncomfortable.
- Nothing (indistinct). - Yes.
Clearly first major interview of this press tour.
I'm not sure how to answer.
- We're gonna give a far more pat and evasive answer
for all future interviews.
- An echoing cough in the distance. A hawk circles.
You can throw that in there if you like.
- [Deadpool] This is what I'm talking about.
βͺ Just like a dream βͺ
- [Deadpool] Big slow-motion action sequence.
βͺ Just like a prayer βͺ
βͺ No choice βͺ
- [Deadpool Who knows if you live or die?
- When we lock this movie, it won't be a triumph.
It'll be depressing.
I mean, we'll miss it so desperately.
So, I've been grateful to Kevin, Lou,
Wendy Jacobson, who's our creative exec of the movie.
And I know Shawn has as well.
They've just been, they've been amazing partners.
They allowed us to kind of evolve not just Deadpool,
but evolve Wolverine and I think-
- And in some ways, the MCU. - And, yeah,
the genre as well. - Because this is just
an injection of tone.
Forget the rating, but the tone of this movie
is very much its own weird beast.
- Yeah, and I don't wanna do Deadpool
from "Deadpool 2" or "Deadpool 1,"
I wanna do the one that's more reflective
of this moment now.
And so does Hugh.
And this movie specifically gave us
a really great opportunity to do something
that departs a bit from Wolverine, the Wolverine we know,
but still allows us
to give many of those aspects of this character
and his haunted nature.
It's a lot of light as well.
So, it kind of does, ticks two boxes.
- I would say if we had the luxury of anything,
it was because it's an MCU movie,
the access to certain characters and certain mythology
was pretty unrestricted
and that lent for some really juicy moments
and storylines in the movie.
- And a lot of nagging.
You know, with Marvel, I've sort of noticed a pattern,
which is like, "Can we maybe have this thing
that we would love to see?"
And they're like, "Oh, no, absolutely not.
That's just not even possible.
From a legal perspective, that's not even possible."
Okay.
Nearly a week goes by and we're like,
"Hey, can we have that thing we mentioned last week?"
They're like, "Well, we'll take a look. We'll see."
And then a week later,
it's like, "We really need that thing,"
and they're like, "Okay, fine, have it.
You know, we'll deal with it
later." - Yeah, this did happen
at least a half dozen times on certain things
that are pretty now central to the movie.
- Some sacred cows. - Yeah.
- In 2024, people are craving connection
and real-world tactile experiences.
And you sort of see it all around.
I mean, even last year, you had these, Barbenheimer,
these huge event movies,
that people really felt compelled to experience.
- Together.
- Yeah, together.
And I don't know, I mean, I watched a movie last night
in a movie theater
and laughing and crying
and with folks from all over the place.
It was just a, it's a magical experience
unlike anything else.
So, yeah, there are just things you feel in a movie theater
that you would never feel elsewhere.
I think you have to kind of have a movie
that has a slightly heightened spectacle element
that seems to draw people in,
required to draw people in these days more so
than, you know, those mid-budget films
that packed them in in the early aughts before.
But I think that'll never go away.
That exhibition feeling is important.
(upbeat music)
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