Et la cigarette …
http://www.cine-sanctuary.com/public/sanctuary/img/acteurs_2/acteurs2.1/logan-wolverine.jpg
http://www.cine-sanctuary.com/public/sanctuary/img/acteurs_2/acteurs2.1/logan-prof-x.jpg
http://www.cine-sanctuary.com/public/sanctuary/img/acteurs_2/acteurs2.1/logan-x23.jpg
J’ai vu la BA pour la première fois hier soir avant Rogue One … j’en ai eu des frissons !
Ah oué, je suis fan là
Très intéressant, ce trailer. Beaucoup de matière, on dirait.
Le fait que les trailers diffusés jusqu’à maintenant semblent supporter des ambiances et des tonalités différentes (voire très différentes) les uns des autres pourrait sembler un indicateur de ça, mais « Suicide Squad » nous avait déjà fait le coup avec beaucoup d’efficacité et au final on s’est retrouvé avec un trailer incohérent de deux heures.
Méfiance quand même donc, sans compter que j’ai été déçu par les deux « Wolverine » précédents (même si l’inégal James Mangold reste un réalisateur bien plus intéressant que l’uniformément nul Gavin Hood…) ; mais tout de même, il y a là beaucoup d’éléments potentiellement très porteurs.
Ne serait-ce qu’en termes d’atmosphère et même de direction d’acteurs (au vu du peu de choses que l’on voit, hein), il semble que l’on s’éloigne des canons habituels du genre, ce que les comic-books movies seront bien obligés d’accomplir rapidement sous peine de crever à moyen terme.
D’un autre côté, une idée aussi lumineuse que la mise en abyme des comics dans les comic-books movies, je trouve ça aussi simple que porteur (a-t-on déjà vu ça auparavant ? je n’ai pas d’exemple qui me vienne à l’esprit, tout de suite).
Enfin, je trouve très intéressant le traitement de la gamine/side-kick (même s’il aurait peut-être été plus judicieux de conserver l’effet de surprise en étant plus elliptique dans ce trailer), complètement à rebours semble-t-il du traitement des gamins dans l’industrie hollywoodienne (qui les considère en général comme des êtres purs semi-féériques et intouchables/immortels).
Et puis un film qui va piocher son inspiration et une partie de son imagerie dans la légendaire (pour moi en tout cas) période australienne du titre séminal, on en verre pas tous les quatre jeudi…
Je suis curieux, faut voir.
Je crois que ça fait bien 10 ans qu’un film de « super héros » ne m’avait pas autant interpellé.
Pas mal cette seconde BA, mais je préfère la première qui avait une ambiance plus western, là on est sur un truc plus couillu baston et qui semble moins réflexion sur ce qu’est Logan que ce que laissait présager la première BA.
Interview de James Mangold par le site Collider :
[quote]What I liked about it is that it’s definitely more practical than what we’re used to seeing in superhero movies. They’ve become so much about the costumes and FX and you don’t need that for this kind of movie.
MANGOLD: It’s not even just a function of… the whole aesthetic of the films has become—I refer to it often as an arms race. How do you out big, out stakes the other guy? Well, at some point it’s just not possible. The world will be destroyed. The world will be destroyed twice. The universe will be destroyed, the universe will implode. At some point, it all strikes me that in the end to make a narrative function, to make a movie involving, you have to be involved in the characters. The one thing all that spectacle does is gives you less time to investigate. It’s almost just common sense as filmmakers now. I think, it’s numbing. It’s just loud, and it’s expensive, but we’ve seen it. Frankly, with the state of video games where they are, it’s not even all that impressive anymore. You could live first person in a lot of these levels of destruction, in completely simulated worlds, so that when you go to the movie theater, I think what you’re really paying for still is to have an emotional experience first. One thing on that level that a video game still can’t give you is a kind of emotional journey where you really lose yourself in feeling.
I know Hugh’s been talking for a long time about doing Old Man Logan, even going back to The Wolverine where he’d be asked what to do next? To actually adapt it from the comics faithfully would require all different things like other Marvel characters, but you took that idea and went in a different direction with it. What was the appeal of Old Man Logan and how to use it for your own movie?
MANGOLD: Well, the appeal of Old Man Logan was that Wolverine is a tricky character because he’s essentially impervious in his prime state. It’s very hard to create stakes or even generate an action sequence around a character, who will essentially heal from anything and is impervious to anything. There’s always an attraction for me in figuring out how to debilitate him slightly. Just to make the story function in some way that he has a challenge with what he’s facing. Beyond that, it’s just so interesting, the idea of middle aged in a super hero, and kind of a life crisis. What was this about? Was it worth it? Did it all really happen? Did I make a difference? You keep saving these people, stopping villains and what does it yield? What does it get? It’s just “Whack-a-Mole” at a certain point. To find a character like this in an existential crisis is very interesting. Plus there were elements of the artwork and the idea of Old Man Logan that were very liberating. Obviously, because of rights issues more than anything, we couldn’t begin to tackle that story the way they did it, but it had a really profound influence on us, yeah.
You put Charles Xavier as a fairly big part of the story as well, and it’s interesting in that you had all these timeline issues with the X-Men movies that they used Days of Future Past to fix, but in this, you’re set 25 years later, so in which timeline is it?
MANGOLD: Well, honestly, I picked this year 2029 for the movie because I wanted to get clear of it all. I basically wanted to get past any known dramatization of anything X-Men on film so I could… I mean, if you’re first setting out to do something different you can’t also try to attach yourself and plug into every avenue of what exists or you’re going to find yourself tied in knots. It was finding the little space for ourselves and we could get away from all existing films. Not reject them or completely push them away but simply give ourselves … almost like talking about raising a child. Give ourselves our own space to grow and be what we want to be. Not be literally like a TV show picking up the baton from where the last one left off. That was my biggest concern. Also giving a space that the character could have gone some place surprising since we last saw him.
Because of the setting, you could also play with Western tropes, which you do in the movie and you end up with a Western that has these X-Men characters as part of it. You talked about some of your influences yesterday so was Mad Max in there at all?
MANGOLD: Sure, they’re all in there. I think the interesting thing is–and maybe I’m being to academic–but I don’t think there really is a genre called “super-hero movie.” I think that when you’re taking apart these movies all day and working on them. Having made Westerns … Westerns, I mean, Star Wars is essentially a Western, even more than it’s science fiction. Whereas 2001 is science fiction. Blade Runner is science fiction. Or it meets noir in that case. Very often there are these different … the Western is essentially and usually a very character-based clash of wills. Yes, there’s these tropes of flatlands and Monument Valley and whatever that is, but the essential construction, what makes those movies so beautiful, is their simplicity.
I think where sometimes we fall astray when we’re making comic book films or super-hero films is that we don’t pick a genre to play. In a sense we think it is a genre itself but I don’t think it is, meaning, what is the super-hero genre? In the past what would we be drawing from? Is it the talk of the clogs and togas movies in the past in a mythical sense? Is it the Ray Harryhausen movies? Is it the more action film, like Raiders? What are we drawing on or what are we mimicking? I think most successful films draw upon these certain dramas. Adventure, western, very simple clear lines and I’m a real fan of that. Meaning my thing is what kind of movie am I making? When someone says comic book movie that doesn’t answer the question. There’s 100 ways to make a comic book movie. Comic, noir, adventure, horrific, dreamy, surreal. These would all be ways to attack it and the word “comic book movie” never identifies one of those it would be. It doesn’t make any sense.
Such as The Wolverine was essentially a samurai movie.
MANGOLD: That’s absolutely right. You draw upon and I think you meet with the most success when you actually draw upon a template or an inspiration that isn’t another comic book movie. That is essentially pushing and pulling you in some new direction. That’s actually what I think the comic book artist do. They don’t make a comic based on the last comic, they make a comic drawing from some far reaching inspiration that takes them some place new.
Wolverine is a great example of that, because Frank Miller took a different approach than Barry Windsor Smith in terms of the art, putting the character into different genres.
MANGOLD: I think that’s what was important to me. We had to make a movie that we were inspired to make. I always think that we’re going to make a better movie if we’re actually fired up about what we’re doing as opposed to just pulling a cord of pre existing decisions along the road. A sack of pre-existing decisions. Going what would we do. Hopefully an audience is going to enjoy another filmmakers take. The same way we’ll go see Hamlet or something directed by four different people and have a completely different experience. There’s a way to attack these stories new and reveal new levels of character.
One of the things we got out of seeing the first 45 yesterday is that this is obviously R-rated, but it’s also very serious, and there isn’t as much of the nudge-nudge humor that you had in the previous movie.
MANGOLD: I think there’s more humor in the back half as stuff gets going. I think you’re right. I think I wanted very much to make a dramatic film. If you cut out all the action then you’d have a working dramatic film. I felt like I had wonderful actors. My writing partners and I are all pretty good at what we do. I felt like why don’t we construct a real grown up dramatic movie about these characters and that in a way some of the wink-wink to me becomes about being a multi-checkbox movie that is trying to be for 8 year olds, 14 years, 19 year olds and 30 year olds all at the same time. That was for me the biggest attraction of making an adult rated movie was that in a way you’re also redefining who you’re making the movie for and you’re not trying to offer both sushi and cotton candy at the same time, if you will. That you’re clearer who you’re playing to.
I want to ask about the girl Laura, who correlates to X-23 in the comics. You took a very different approach to her. First of all, she’s younger, because I remember her introduction in the comics was very dark, and it involved drugs and prostitution.
MANGOLD: Well, that’s not her origin story, the NYX (comics). Craig Kyle and Christopher Yost wrote an origin story with her as a child in the lab. There are comics. The cover art is her in a lab with her claws clawing against… Look up X-23. You’re going to find images of a kid about Dafne’s age. You’re going to find an origin story about a kid that young. That really attracted me for a number of reasons. What you’re getting at is why that age? I wasn’t, while I’m pointing out is I don’t think I was actually bucking any comic. I mean, all of those things you’re talking about could lie ahead for this character. But that my real interest was in a father daughter story and a grandfather father daughter story. Meaning making that illusion to Little Miss Sunshine yesterday. It wasn’t to me entirely comic. It was the idea that I really wanted to make a family film. Not a family film in the rated G sense–a family film in the sense that we’re exploring the politics, pain, disappointments, and hopes we all face in family. And that in Logan being suddenly challenged with this child when he’s avoided almost all human emotional entanglement at this low point in his life, and that Charles at this late twilight moment of his life is suddenly given a chance to reach out and help one more mutant. The idea that this mutant—as Dafne was 11–to me was really inspiring in the way that I thought it could affect the drama and keep it from being another CW show with another really hot person with claws jumping around. The idea that the relationships were purely about family was really interesting to me.
What we saw of her in action was pretty bad-ass.
MANGOLD: She’s an amazing kid. Wait until you see the back 18 of the movie. She goes places you won’t believe.[/quote]
James Mangold explique également pourquoi Mr Sinistre n’est pas le méchant du film, comme cela a été un temps supposé :
Dan Panosian et Joe Quesada ont travaillé sur ces comics. Panosian a encré, colorisé et lettré les pages intérieures de Quesada et réalisé toutes les couvertures sauf une :
[quote=« Dan Panosian »]I drew the covers. All in all, I created about 10 or 12 original covers. I was asked to create an original logo and cover dressings too. Illustrating the corner boxes was a treat too. It was one of the best art assignments I’ve ever had.
I also inked/colored/lettered that interior page that was penciled by Joe Quesada. I hadn’t inked him in over 25 years and to say his work has become more detailed and awesome is an understatement. Sadly, I had to tone the inks down a bit so the finished page would look like it was created in the 80’s. I tried to channel some Al Williamson here and there.
But yes, Joe penciled a cover and 4 interior pages that I can’t divulge much more on. I don’t want to spoil the film.
Gabriel Hardman recommended me for the job. He was storyboarding the film. But there’s more.
I also wrote/drew/colored/lettered an additional 4 page story that may show up. We’ll see.
The back page and interior ads were also custom made. One of them features MMA and Wrestling legend, Josh Barnett. Although in the ad, he’s called “Josie Barnett”. My nod to the Outlaw Josie Wales. You can see the ad a tiny bit when Logan throws the comic books on the bed.[/quote]
À noter que cette couverture d’Hellboy est un hommage à celle de Kirby.
img11.hostingpics.net/pics/903051hellboy1261455ebed2920a523d0dd2307a193c.jpg
Jolie adaptation !
[quote=« James Mangold »]Le monde dans lequel nous nous trouvons au début de Logan est un monde dans lequel le merchandising autour des X-Men existe. De la même manière que des stars de cinéma peuvent lire des biographies sur leurs années de gloire et que les sportifs peuvent revoir leurs exploits dans des rediffusions à la télé, les comic-books retracent des choses qui se sont déroulées dans le passé. Logan essaie de fuir son passé. Il est fatigué par sa légende. Il en a marre de ces histoires, que les gens le reconnaissent dans la rue et achètent des figurines de lui.
Tout ce merchandising existe dans le film. Cela crée un effet intéressant et apporte de la crédibilité à ce monde. Qu’est ce que cela fait d’être un de ces personnages qui a été vendu, mis sous blister et peut-être bien placardé en poster sur les murs des kids ? Qu’est-ce que cela fait de ne plus être ce héros après l’avoir été ? Le film pose cette question.
[/quote]
[quote=« Le Doc »]
Dan Panosian et Joe Quesada ont travaillé sur ces comics. Panosian a encré, colorisé et lettré les pages intérieures de Quesada et réalisé toutes les couvertures sauf une :
[quote=« Dan Panosian »]I drew the covers. All in all, I created about 10 or 12 original covers. I was asked to create an original logo and cover dressings too. Illustrating the corner boxes was a treat too. It was one of the best art assignments I’ve ever had.
I also inked/colored/lettered that interior page that was penciled by Joe Quesada. I hadn’t inked him in over 25 years and to say his work has become more detailed and awesome is an understatement. Sadly, I had to tone the inks down a bit so the finished page would look like it was created in the 80’s. I tried to channel some Al Williamson here and there.
But yes, Joe penciled a cover and 4 interior pages that I can’t divulge much more on. I don’t want to spoil the film.
Gabriel Hardman recommended me for the job. He was storyboarding the film. But there’s more.
I also wrote/drew/colored/lettered an additional 4 page story that may show up. We’ll see.
The back page and interior ads were also custom made. One of them features MMA and Wrestling legend, Josh Barnett. Although in the ad, he’s called “Josie Barnett”. My nod to the Outlaw Josie Wales. You can see the ad a tiny bit when Logan throws the comic books on the bed.[/quote]
Voici la page du comic-book que l’on voit dans la nouvelle bande-annonce, en noir et en blanc et en couleurs, avec un commentaire de Joe Quesada :
Je trouve que la seconde affiche fait très Star Wars et affiche à l’ancienne dans sa composition, ca marche bien sur moi ce genre de truc. Mais je trouve dommage de révéler que l’enfant est X-23. Certaines personnes ne veulent rien savoir, hors une affiche même si on évite les BA et autres, on passe plus facilement devant et c’est plus difficile à éviter.