I'm sure all (or most) of you will have noticed that no matter who is directing a Marvel Studios movie, they always tend to fit a certain mold. This is because -- as Kevin Feige recently admitted -- the director does not get final cut, which allows the studio to make certain changes along the way as they see fit. Some examples of this can be seen in their most recent effort, Thor: The Dark World. The film contains a LOT of exposition early on, and apparently this was not to Alan Taylor's liking. "I think my impulse is always to sort of trust the audience and to not feed it too directly," he explains to The Huffington Post. "But, obviously, there's a very successful model for these things that seems to work very well. So, who am I to quibble?". Taylor has also said previously that he wasn't too fond of the mid-credits stinger, which features...well, we won't ruin that one here!
Taylor has also directed numerous episodes of some excellent tv shows, such as
The Sopranos, Deadwood and most recently
Game Of Thrones. He speaks at length about feeling like an "executioner" after shooting so many death scenes, and this leads to some
Thor: The Dark World SPOILER talk as the director discusses the movie's darker elements.
"After we killed Christopher Moltisanti in "The Sopranos" (that is my favorite death scene, where Tony has a car crash and he kills his own cousin just by pinching his nostrils shut); after doing that, I looked back and I realized that I killed Caesar on "Rome" and Wild Bill Hickok on "Deadwood" and Ned Stark on "Game of Thrones," and I felt like my job was executioner or something. The episode, major things were happening in them and major emotional events are taking place and the scale of the storytelling is really satisfying. And in this one, we got to kill, or sort of kill, two major characters. And that, I think, is part of the darkening of the movie from the first one -- that we were taking on things like that. The idea, in my mind, is that Thor is a character who continues to grow and he's not just a static superhero and, in the first film, he went from being an impetuous prince to being somebody who is more responsible. And, in our film, he continued to grow up and went through the darker phase of growing up where you start to realize the world is more complicated than you thought and what you wanted might not be what you really want. In my mind, when we started calling it "The Dark World," it wasn't just elves -- it was adulthood [that] is the Dark World. And that's what he's growing into and part of that was losing people he loved.
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About The Author:
Mark Cassidy is a writer, photographer, amateur filmmaker, and Rotten Tomatoes-approved critic from Dublin, Ireland.