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‘Wonder Woman 1984’ | Anatomy of a Scene

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I am Patty Jenkins. I’m the director of Wonder Woman 1984. “” We need the police here now! ” So this is a scene that we enjoyed so much. It is the first scene in the film that takes place today. The only thing we’ve seen in advance is a look back. And the first scene where we see Wonder Woman as an adult in our film. “What you are doing?” What was most important to me about this scene was that when I was thinking about what we were going to do with the second film, I realized that we wanted to say something much more serious and important than we were saying with the first film. So the immediate thing is, how do you do this and reach the audience that is most important to reaching out with this type of message? Which is the youth audience. It is the heroes of tomorrow who want to inspire you. We wanted to have a fun and engaging playful scene right away, and I’m really excited to be with kids and watch them see that scene. I also longed to see Wonder Woman at the peak of her powers and have a good time to save the day without effort. It’s something I love in so many superhero films. “We won’t do that today.” Where they are only on top of the world and you watch how they take care of everything. Another thing was the 80s of everything. Lynda Carter’s Wonder Woman was such a big moment for Wonder Woman and her story in the world and a big moment for me because that is exactly what I saw as a kid. Playing with that version of Wonder Woman that we hadn’t touched on in the first film made me realize that I wanted to do it in the first place because our story wouldn’t allow it. I have a lot more of it because I’m always with myself deal with the main character’s point of view. Of course, she gets into trouble right away and can’t just let go and have fun. It was a great thing to get into the 80s, but also to use new technology. All of these things, including this setting where these human bodies slam and Wonder Woman jumping over the barrier and flying through the air. 100% real, no digidouble, no special effect to achieve this. This was all wire work that we could design and engineer to get every single move there because no one has ever tried to do something like that in a real place. That was an amazing challenge, great craftsmen, and my great second unit director Dan Bradley, my great stunt coordinator Rob Inch. We just had amazing people working on it and making these magical things possible. And of course my cast here made it a sheer delight. [SIRENS]

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