He always wanted to focus on the film in hand. Chris wasn’t interested what might happen in the next film. And it’s true we didn’t discuss the third film until two or three months after The Dark Knight had come out. Obviously, that would have completely changed the polarity of the third film. I realize Rises wasn’t written until after the second film was released (and Ledger’s death), but I’ve always wanted to ask: What role would you ideally have had the Joker play in a third film? When I watch its sequel, The Dark Knight Rises, I always think that if Heath Ledger hadn’t passed away his Joker would have been one of the characters released from Arkham Asylum by Bane’s (Tom Hardy) plan. The Dark Knight, Logan, Captain America: The Winter Solider and Thor: Ragnarok. What film, in your opinion, holds that title? The Dark Knight is considered by some, myself included, as the best superhero film of all time. Finally, we just said, “Guys, please let’s stop, please kill it, let’s do it as a streaming show.” Eventually, they did.
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So Neil and I worked on a feature, and through the various iterations, it just kept subtly getting more and more deformed, and shifting more and more away from the true north. to do a streaming serialized show and they wanted to do it as a feature instead. Was this the script that Neil Gaiman famously declared was “not only the worst Sandman script I’ve ever seen, but quite easily the worst script I’ve ever read”?įortunately, no. I will say one was a previous iteration of Sandman. Well, I have to ask: What’s an example of that?
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It’s not worth the money.” I’ve talked myself out of movies and TV shows being made before. So there were times when I’ve been involved in projects when I’ve actually advocated that the studio not make it. Because if you do, no matter what, even if you have the best of intentions, it will definitely not work out. My go-to is always “what works for the story.” And if I’m adapting an IP, like a comic book, I don’t try to turn it into something it’s not. I hope I’ve developed a reputation now for speaking with candor, for being honest. How do you handle a situation where you believe strongly something is the right move and others believe differently? You’ve been involved in a lot of projects where there were many big egos on board and a ton of studio pressure. So, it’s having a consistent universe, having consistent leadership and staying true to the source material. I would say, try to hew closer to what was the original intent. One of the other things that’s made Marvel incredibly successful is all of their adaptations are true to the source material. It’s hard to make any headway when leadership is changing. There have been all of these changes in terms of who is running DC. I think one of the issues is that Marvel’s had consistent leadership for the last 15 years or more, whereas DC hasn’t. If you were running DC-īut let’s say you were. Also, Goyer’s production company, Phantom Four, is producing the Sundance-acclaimed horror thriller The Night House, “a ghost story about grief,” which is being released into theaters next month.ĭC has had some ups and downs in recent years, especially compared to Marvel. Now the 55-year-old father of three is taking a break from capes and cowls by adapting two iconic - and notoriously creatively complex - titles for streaming: Neil Gaiman’s metaphysical graphic novel Sandman for Netflix, and Isaac Asimov’s epic Foundation trilogy for Apple. His other credits include Terminator: Dark Fate, Constantine, Krypton, Da Vinci’s Demons, Godzilla and The Tomorrow War. Since, Goyer has worked on all three of Christopher Nolan’s Batman movies and two of Zack Snyder’s DC films, too. But it was his 1998 smash Blade that established him as a go-to talent who could translate comic book stories for a mass audience. Goyer’s early career was spent writing scripts for a variety of genre titles ( Death Warrant, The Puppet Masters). So the idea I could leave Michigan and one day work on the superhero movies of comics I’ve read as a kid is just amazing.” I shoveled snow, mowed lawns and didn’t know anybody from Hollywood or comic books. “I grew up with a single mom in Ann Arbor. “It sounds corny, but to me this represents possibility,” the screenwriter says, holding the coin. Robin Thede Is More Than Just "The First Black Woman to."Īs a 6-year-old in Michigan, Goyer found the coin while digging in a mound of dirt and was stunned to learn it was then valued at $400 - he literally found buried treasure.