It ideally will sort of remind people that this genre is here to stay – at least for right now – so we should be pushing boundaries with it and not just saying that we’re pushing boundaries. It’s the birth of a new type of antisuperhero.
Deadpool comic movie#
I think that’s why it can be such an important movie.įor me, this movie is a palate cleanser. It’s something “Silicon Valley” gets a lot too: That’s how people talk. Finally people can talk how they want to and it’s more like life. The best thing about it is that it’s R-rated. But it’s nothing like “Deadpool.” “Deadpool” is this super-bizarre thing. “Guardians of the Galaxy” is tongue-in-cheek and has a sense of humor about itself. It’s not like there’s not good superhero movies. This isn’t a factory where you’re just churning out two-reelers that we’ll watch over and over.” We’re sort of sick of it – we saw “Ant-Man” and “Fantastic Four” and everyone is like, “We get it, Hollywood. This is an origin story that’s just different than others. “Batman vs Superman” is an attempt to do that too – it’s an attempt to talk more about the philosophy and all that stuff. My favorite thing about it is that it’s defining hopefully where comic-book movies and superhero movies are headed. Where do you see it fitting in in the context of comic-book movies in general? There’s been a lot of talk about how “Deadpool” is a different kind of superhero movie – which is obviously a big part of the reason it was so difficult to get it made in the first place.
They’d been working together on this thing for like five years already when I came into it. They were really into the idea of collaborating. Ryan is funny guy and a very good writer and the screenwriters Rhett and Paul are very good writers. If you’re wanting to Aaron Sorkin it or David Mamet it with me, it’s not quite going to work because what I do is much better if there’s a lot of riffing and improvising. I’m here to collaborate and elevate the material. I think by now if people hire me, they know I’m going to improvise. Was there a lot of ad libbing on the set? In your scenes with Ryan, you guys trade jokes back and forth in a way that feels very loose and improvised. I always play these people who are a little sociopathic. But in this one, I’m a person who’s totally out for himself, doesn’t care if his friends live or die. At one point, I think we had “The Other Funny Guy,” which I thought was a little more appropriate.īut The Comic Relief points to the fact that that’s what these movies are like – there’s always “the comic relief.” In a regular superhero movie, I would be the funny lab guy. It’s a comedy, first of all, so we don’t need any comic relief, and Ryan is the thrust of the comedy because Deadpool is very funny. That’s part of the big joke of it in some ways. You’re literally billed in the opening credits as “The Comic Relief” but you’re actually sort of the straight man in a lot of your scenes with Ryan. I wrote a script called “The Nihilist.” That kind of thing is right up my alley. I’m more interested in sort of nihilistic, R-rated, antihero stuff. Then I began to understand it, and it became clear that, not only is this the perfect vehicle for Ryan Reynolds, it’s also sort of more on brand for me – or however you can make that less. He sort of explained to me that Deadpool is this big fourth-wall-breaking, meta, pop-culture spewing, chimichanga-eating antihero. He goes, “Oh my God, you’re in ‘Deadpool’! That’s my favorite comic book!” He’s a big, big nerd. It wasn’t until Kumail Nanjiani came up to me the day the news was announced that I began to realize what this thing was.
0 kommentar(er)
