The “Zodiac” and “Reservation Road” actor that is Mark Ruffalo many film-goers know about wouldn’t be a first choice to accept the role of David Banner for a genre like “The Avengers” fields. Even on “Real Time with Bill Maher” Ruffalo admits that acting in a comics genre was far from his foresightful expectations towards upcoming projects.
What Ruffalo accomplishes in Banner-like Jekyll-some weariness on-screen was exceptionally caught in the lens of helmer Joss Whedon. On a lens altogether different, say in the directorial manner of Sam Mendes – then wide film sorts of variant elicits could have made a mark on our mega-blockbuster memories.
The case for another cinematic capture was up for the offering, and Mendes a short list name that was sent the initial movie pitch.
However “The Avengers” turns out not to be the recent “Skyfall” director’s galvanizing forte, in the manner that we discover how Hollywood really rounds up it’s desired directors. After all, this third Bond installment of reboot recent preinitializes 1998s “Road to Perdition”, when Daniel Craig and Sam Mendes were on a film set together.
That’s right, Mendes has a comic book film side that clarifies itself during an interview with Moviefone.
Half right, if you’re of a mind he’s reluctant to let us in on the general idea of how he got interjected with the project.
From Mendes’ anecdotal tell-all:
“With a lot of these movies, the date’s announced before anything exists, let alone a script. The funniest letter I got — they were sending [a packet for] “The Avengers,” right? For directors to pitch — and I got a package, which was full of comic books, but no treatment; there was no script. But the cover letter said “Marvel’s ‘Avengers’ will be released on May 3, 2012” or whatever it was. That was the first sentence of the cover letter. Not, “We have the pleasure of enclosing the materials…” or “Here is the script for…” But the release date. That was the first sentence.
Since Bryan Singer’s “X-Men” franchise and Sam Raimi’s “Spider-Man” trilogy have been served the bigger slices of credit for comics based movies rejuvenation, the Oscar-winning director for “American Beauty” stands apart in that pop genre for rendition of a celebrated film. Enthusiasts know the deal.
Like those blockbuster pair that tandemly set records and spun into upswing motion wunder-kinds of a comics story produces in interactive streamline with action-mach wonder.
Coattails of those pair of box office bonanzas, of which “The Dark Knight” attaches sweeping Oscar-noms and wins, gave every multi-level afficianodo on the internet cause for measuring against measures. A factor of comparitives doesn’t escape Moviefone, questionairre of the interview – after Mendes captions Bond production outside the vein of ‘it’s not like making “The Avengers” and frames his opinions on the likenings towards Christopher Nolan level impact.
“Well, he’s the man, isn’t he? I think he’s amazing. This movie would not have been possible, I think, at least in the way that it is, without “The Dark Knight.” We’re living in a world now where movies are either tiny or huge and there’s nothing in the middle. I mean, the movies that I made for ten years, I can’t make those anymore. I couldn’t make “American Beauty,” I couldn’t make “Road to Perdition”; they just don’t make those films. [Nolan] showed that you could make an A movie — that is a world class movie, that has in it some sense of reaction, reflection of the world that we live in — without being ponderous or po-faced or take itself too serious. And it had great acting, and I mean that. I mean, Heath Ledger, that is a great performance. That was a game changer for me, as an audience member. I just thought, “Wow. That’s a proper movie.”
“Revolutionary Road” as the director has evinced, the human and philosophical modus operandi that made Batman a relevant Rise of Gotham City was clearly coursing parallel on the psychological action-thrilling vein Bond has in this generational “Skyfall”.
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