#i also like how it's not exactly anachronistic since the turn from ancient to modern greek seems to be around the byzantine era

[maranull]

Kinda funny going into the Hidden City in Rise of the Tomb Raider and hearing straight up modern Greek.

Also props for not having them talk gibberish. They are hyping themselves up about their prophet and planning how to fight the helicopters...

Nice.

[9worldstales]

INTERESTING POINTS TO PONDER FROM INTERVIEWS 7

Interviews might not remain forever available or not be easy to find so I’ve decided to link them and transcribe the points I find of some interest so as to preserve them should the interview had to end up removed.

It’s not complete transcriptions, just the bits I think can be relevant but I wholeheartedly recommend reading the whole thing.

And of course I also comment all this because God forbid I’ll keep silent… :P

Title: EXCLUSIVE: Screenwriter Don Payne Talks Thor!

Author: Elisabeth Rappe

Published: Feb 23, 2011

BEST BITS FROM THE INTERVIEW

ABOUT THE SCRIPT FOR “THOR”

Thor has seen a lot of screenwriters come and go, and I imagine that led to some very drastic changes to the character and story. Can you talk at all about that process, and what changes were made over the course of project? (For example, I know rumors swirled very early that the Thor movie would be an origin story with his alter ego, Dr. Donald Blake!) How did the script come together? At what point in the process did you come on board, and what was your contribution?

Don Payne: First off, for the record, the final, official WGA writing credits for the film are “Story by J. Michael Straczynski and Mark Protosevich, Screenplay by Ashley Edward Miller & Zack Stentz and Don Payne.” Any other writing credits you might have seen elsewhere are either outdated or incorrect.

As far as how the script came together, J. Michael Straczynski and Mark Protosevich worked on the project before Kenneth Branagh came on board to direct. At that point, Ken and Marvel sat down and decided exactly what kind of story they wanted to tell. They took everything that had been written so far and figured out a game plan. Marvel then hired Ashley Miller and Zack Stentz, and, as I understand it, those guys worked pretty intensely on the screenplay over the course of four or five months. After they left the project, Marvel hired me, and I stayed on all the way through the end — about a year and a half total. For the first eight months, I continued to develop, rewrite, and restructure the screenplay, bringing in new characters and new scenes. I worked closely with Ken and Marvel throughout the process, and, as the cast came together, I worked with Ken and the actors during rehearsals here and in London.

Then, once production started in January 2010, I was on set writing every day, both at the studio in Manhattan Beach and on location in New Mexico, and continued to work through post-production.

I’d like to say more about how the script has evolved since the very beginning of the development process, but I don’t want to spoil anything. I hate spoilers. (Mostly because I’m weak, and I can’t resist them myself!) But I’ll be happy to talk about it all after the film comes out. What I can say is that this really has been the greatest writing experience of my life. I’ve never worked harder or been as closely involved day-to-day on a project as I have on Thor.

And as far as Thor’s alter-ego goes, as Kevin Feige has said, people looking for a Donald Blake reference might just find one.

ABOUT THOR’S JOURNEY AND FAMILY

I know you’ve worked with iconic superheroes before, was Thor more or less daunting to deal with? He’s a real anachronistic, medieval character. How do you bring that into the modern world? Is it ultimately the same as trying to make any superhero realistic and relatable?

Don Payne: Well, I think the challenges are pretty apparent. As you say, Thor’s a unique character, and it’s an unusual story we’re telling. When you’ve got something like Captain America, the premise is easier to get right away — he’s a superhero fighting Nazis in World War II. Whereas we’ve got an extra-dimensional being once worshipped as a god by the ancient Norse who’s banished to earth and stripped of his powers to learn humility, all set amidst the Shakespearean intrigue of a dysfunctional royal family. It’s not as simple to grasp.

You just have to find the things that make Thor timeless and relatable as a character. It certainly helps that he’s charismatic and likeable, albeit flawed. He’s banished for good reason, but I think people will want to go on the journey with him and root for him to find redemption — particularly with Chris Hemsworth’s performance.

I think what really makes Thor relatable are the family relationships. There’s a lot of dysfunction in the House of Odin. Thor’s got a hard-ass father and a jealous brother. But for all of Thor’s hardheaded rebelliousness, he, like Loki, is really just trying to live up to his father’s expectations and make him proud. I think people can relate to that father and son dynamic.

ABOUT SIF, THE WARRIORS THREE AND HEIMDALL

What can you tell me about the parts popular Asgardians such as Heimdall, the Warriors Three, and Sif play in the overall plot? Will we see more of them in other Marvel movies? Is there potential for a Sif spinoff, as she has enjoyed in the comics?

Don Payne: The Warriors Three and Sif are very much like they are in the comics. They’re fierce warriors who are fiercely dedicated to their friend Thor. They’ll follow him anywhere — which might not always be the wisest thing. Also, as in the comics, Heimdall is bound by duty and honor to guard his post on the Rainbow Bridge, and he’s got serious issues with anyone who tries to cross it who would endanger Asgard.

As far as seeing these characters in other movies or their own spin-off films, I think Marvel already has a full slate of projects in development, so I imagine we’ll only see them as part of the Thor franchise. But you never know. I’d ask Kevin Feige if I were you!

ON THE HUMOUR OF THE MOVIE

One element that jumped out at me in the trailer was the comedy – it felt very light and natural, not corny. (Jane reacting to Thor’s name, for example, or the coffee cup scene.) How did you strike the balance between the comedy and drama of the piece? Were there moments where you thought “Ok, this goes too far with the fish-out-of-water joke”?

Don Payne: Well, my hope is we’ve included just enough humor in the script, but no more than that. This isn’t a comedy, and that’s not what I was hired to do. It’s an action film, and, as in all action films, you need those fun moments. But you have to do it sparingly. You don’t want things to get silly.

One thing we all agreed about early on was to make sure we were careful about how we approached the fish-out-of-water moments. We didn’t want Thor to come to earth and suddenly become an idiot for comic relief. Even without his powers, he’s the same person on earth as he was in Asgard — a smart, headstrong warrior. He’s a being from an advanced race who’s used to travelling to other worlds and thinking on his feet. We didn’t want him looking at a television set and going, “What is yon magic box, with phantoms that move and speak inside it?”

Still, he’s on unfamiliar turf, and there’s some fun in that. You just have to find the right balance. You also want to have fun moments and dialogue during the action sequences, so you put those into the script. Of course, those bits are the easiest to cut in editing if you find the jokes are too much or too distracting. You can pick and choose.

ON JANE AND DARCY

I particularly liked how Jane and Darcy react to Thor’s arrival. They aren’t immediately throwing themselves at him. They think he’s hot, but likely to be crazy. I know you’re a staunch feminist, so I imagine their portrayal was important to you. Can you talk about how you approached them? It seems rare to have two girls in a single Marvel film, possibly competing for Thor’s attention. How did that play into the romance, and how did you approach the relationship between Thor and Jane? Did Natalie Portman and Kat Dennings have any input into their characters?

Don Payne: Kat did an amazing job taking the words on the page as written and making them fly. She really embodied the character of Darcy.

After the second trailer came out, I read some people mistakenly speculate that her character was created as a marketing decision to appeal to the youth audience or some such thing — as if the producers sat down and said, “Hmm… this script is good, but we need a character to appeal to the tweens! With current pop cultural references!” I promise you, that wasn’t the case at all. I came up with Darcy because we needed someone to work with Jane Foster, and the character had to have a vastly different background, personality, and world-view from Jane in order to make that relationship interesting. I decided to make her a woman, frankly, because other than Sif and Frigga, we had a very male-heavy cast of characters. I thought it might also be interesting to have someone working for Jane who both frustrated her and who Jane saw as protégé whose potential she could help fully realize.

But I also wanted Darcy to be the voice of the common man. We’ve got Asgardians and astrophysicists, so I wanted someone to say what the average moviegoer might be thinking. If someone in the audience is thinking, “What the hell is that weird, glowing thing?!” Darcy should be asking “What the hell is that weird, glowing thing?!” (That line isn’t actually in the movie, but you get the idea…)

Natalie actually helped out tremendously with the character of Jane Foster. Let’s be honest, Jane Foster in the comics has traditionally been one of the most boring characters in the Marvel Universe. In the film, she’s an astrophysicist, so that makes her more interesting right off the bat. And it doesn’t hurt that she’s played by Natalie, who brings loads of personality and charm to any character she portrays.

Originally in the script, however, Jane was more of a traditional scientist — a hardcore skeptic. But Natalie came to the first rehearsal with the idea of turning that on its end. She suggested making Jane the believer. She thought Jane could be more of a kind of “scientist as poet” — someone who thinks outside of the box, someone whose theories are considered outlandish and are frowned upon by the scientific community. But it’s the kind of thinking that leads to great discoveries. When Thor arrives, she’s willing to take a leap of faith — and she has to pay the consequences for it. Natalie’s input made the character more interesting, improved her relationship with Thor, and, in general, made the story better. And she helped make sure Jane Foster isn’t boring. So I’m grateful to her for that.

During my story meetings with Ken and Marvel, we put a lot of work into the Thor/Jane relationship, and there was much discussion about exactly how and how quickly things should progress between them. I think we succeeded in developing their romance realistically, so it doesn’t feel forced.

ABOUT HEIMDALL AND THE MCU TAKE

There has also been a lot of ugly and foolish controversy about Idris Elba being cast as Heimdall. I don’t like to justify bigotry with attention, but has the reaction surprised you and the rest of the team?

Don Payne: You’d think as a society we’d be beyond this now. The funny thing is, this film was never meant to be a straight representation of traditional Norse mythology. It’s the cinematic take on the Marvel comics take on Norse mythology. In fact, in the reality of our movie, the Norse myths are actually based on our version of the Asgardians, after they visited ancient Norway. The Norse just got some things wrong, based on their primitive understanding of their encounters. (Like, for example, worshiping the Asgardians as gods.)

The bottom line is Idris is great in the movie. I think almost all of the people who are skeptical or have issues with the casting will be convinced when they see the movie — except for all the actual racists out there. But who needs them?

MY TWO CENTS

This interview is so goddamn awesome because it’s so informative. Don Payne talked about a lot of topics and didn’t give just two lines answers but well rounded explanations. There’s so much more than the bits I’ve selected but I couldn’t really copypaste it all, though I wholeheartedly recommend you to read it.

I’d kill to get a peck at the old scripts but definitely there was a lot of work ongoing to produce the definitive one.

Anyway I love how almost all Marvel seems to know Odin is a bad father yet Odin doesn’te ven get a slap on his wrists. Really guys...

I like how he admits Thor’s journey is one of redemption... but really that’s not how you made a redemption arc...

I also find interesting how again we get a confirmation that Sif and the Warriors Three are ‘fiercely dedicated to THEIR FRIEND THOR’.

In the movie Thor says:

Thor: Why don't you tell her how you sent the Destroyer to kill our friends, to kill me?

But the truth is that those were his friends, not both’s. For the Warriors Three and Sif there was never a choice between Thor and Loki. They were Thor’s friends and to him their loyalty went.

I also like how he says he hopes they included enough humor, but no more than that as this is an action film, and, while fun moments are needed they need to have them sparingly of things get silly. How they didn’t want Thor to come to earth and suddenly become an idiot for comic relief. How they didn’t want for the jokes to end up being too distracting. I think this speaks of care for the story.

They even put care in creating Jane and Darcy. I still think they could do Jane better, but still they tried.

[keijay-blog]

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I Tried Vinegar Pie! Here's What I Thought.

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