Wolverine eenzaam in Japan



De 2de soloprent  van Wolverine moet en zal beter zijn dan diens voorganger. Een van mijn favoriete X-Men verdient gewoon beter. Hugh Jackman en regisseur James Mangold hebben haast de toekomst van het personage in handen. Als The Wolverine faalt dan kan het gerust game over zijn voor de man van staal. Het is dus tijd James Mangold ons enigzins nog wat meer zekerheid of inzicht geeft in het vervolg. Zo vertelt hij in een interview aan EW dat de film het verhaal zal volgen van dat van Claremont/Miller over Wolverine die (eenzaam) ronddwaalt in Japan.

“A lot of that story and a lot of beats from that saga are in there — and a lot of characters. Without being religious about it, I think it’s a very admiring adaptation. Obviously when you’re adapting anything you make some changes. But all the characters are there – Yukio, Viper, Mariko, Shingen, and Logan obviously. The whole cast of characters that exist in that world exists in our film.”

Hoe zit het dan met de link tussen The Wolverine en de oorspronkelijke trilogie?

“It’s set after X-Men 3, but I wouldn’t call it a sequel to X-Men 3… [I set it after all the other films] because of some of the themes in the Claremont/Miller saga. I felt it was really important to find Logan at a moment where he was stripped clean of his duties to the X-Men, his other allegiances, and even stripped clean of his own sense of purpose. I was fascinated with the idea of portraying Logan as a ronin – the definition of which is a samurai without a master, without a purpose. Kind of a soldier who is cut loose. War is over. What does he do? What does he face? What does he believe anymore? Who are his friends? What is his reason for being here anymore? I think those questions are especially interesting when you’re dealing with a character who is essentially immortal.”

Mangold beschouwt The Wolverine als meer dan een fantasiefilm.

“A fantasy film is often improved by some kind of human reality. What makes them hard to sit through is that the modern-day tentpole film has become a lot of fast cutting and an incredible amount of money spent generating effects. What are we left with? We’re left with what we see – a kind of inundation, a head-banging barrage in which they keep turning the volume up on the mix, and flying things at you faster in the hope that it keeps you in your seat. For me, the idea of making a film with hardcore action, with physical action like I grew up reading in the comic books, but also with a heart – and this character has great heart – to me, it’s no different from making a western. Or a cop film.”

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