Quotes of All Topics . Occasions . Authors
Marvel is a very streamlined studio.
As filmmakers, we are interested in unique voices.
Everything is finite, right? Nothing can last forever.
Being a global citizen makes you a more interesting person.
I'm Italian, so I absorb other cultures through their food.
We grew up on Scorsese and Coppola and '70s crime thrillers.
Disney represents the future of filmmaking in North America.
We want to empower artists and filmmakers to forge new paths.
We always try to make each film different so they don't get repetitive.
We like existentially wacky characters who exist in existential crisis.
I was a comic book nut. For real. I still have a collection in my closet.
I think movies moving forward are going to become long-form storytelling.
First favorite character growing up was Spider-Man, second was Wolverine.
We feel a lot of the future of storytelling is going to be in the VR space.
We began in indies, and maybe we'll make another smaller film again sometime.
We never intended to be comedic directors; it was just something we fell into.
I think that what people love most about the Marvel universe are the characters.
Tim Miller is a very good friend of ours. We'd love to see 'Deadpool' jump into the MCU.
We made 'Pieces' in Cleveland with zero connections to the film business. Absolutely zero.
I think we find that it's most helpful when we have both of our brains applied to an issue.
What's interesting about the fans is, fans are very fickle. They all have their own opinion.
'Avengers 3' has a beginning, middle, and a very definitive end, and 'Avengers 4' does the same.
If you're a fan of auteur filmmaking, I'd say get yourself invested in some really good TV shows.
I've had emotional experiences in VR that I haven't been able to have in two-dimensional experiences.
We tend to intensely scout an area and then use our imaginations to make the best use of the geography.
I always say one of the great scenes from 'The Dirty Dozen' is where Jim Brown has to get grenades in the chimney.
It was always the intent, in a larger arc, to split the Avengers up before the greatest threat that they've ever seen.
I'm more compelled as an artist to see diversification than I am to keep watching an Anglo point of view in storytelling.
With a character called Captain , you have to address the concept of who he is because his identity is tied to his country.
I think there's a lot of people in their dingy boats in the middle of the ocean pining for the days of closed-ended narrative.
I've been collecting comics since I was 10 years old. One of the first books I ever got my hands on was a Captain America-Falcon team-up.
We grew up near a cinematheque in Cleveland, so we were very influenced by international cinema, the French New Wave, Italian neo-realists.
I sat in a theater when I was 11 years old and watched 'The Empire Strikes Back' from 10 in the morning until 10 at night the day it came out.
Our job with Thanos is to make him the preeminent villain in the Marvel Universe. That is his role in the comics. That's his role in these movies.
As filmmakers, we love ambitious storytelling; it's one of the reasons we pushed to do 'Civil War.' We want to be as ambitious in scope as we possibly can.
I find that when I watch films where the villain is more complex, I find that it makes the heroes more complex and ultimately, in the story, more interesting.
I've been fortunate enough to travel to Edinburgh a few times over the last few years, and I just loved the city. I find it one of the more beautiful cities in Europe.
'The Infinity War' is meant to be a culmination film. It's meant to join together all of the Marvel Cinematic Universe against an incredible universal threat - Thanos.
Characters have to make sacrifices. To really, really feel the true emotion and the hero's journey, they have to go through trials, and those trials could cost them something.
The feature space is a spectacle space. It's about getting people out of their houses to go to theater when we all have a lot of things in our home now that occupy our attention.
We get excited by ideas, and we're more excited by being surprised by ideas than we are in dictating the course of events. We've found that leads to more interesting storytelling.
We love being told good stories, and we love telling good stories, and all of our energy and our effort and our thought and our passion goes into telling the best story that we can.
The template that 'Infinity War' is following is a very different, complex template because you've never seen so many characters in one film. It obviously has to be a multi-perspective film.
Chris Nolan went through Slamdance a year and a half after us, and he went on to direct 'The Dark Knight.' So the joke now is if you want to make superhero movies, that's where you have to go.
We like smashing genres into each other, so if you can find something that's really idiosyncratic in respect to superhero genre and you can smoosh it into it, you usually wind up with something fresh and different.
We took a very interesting journey from being really extreme art house filmmakers. But we find that working in commercial filmmaking and creating a brand on that high level affords us a lot of interesting opportunities.
I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.
We're constantly striving to bring something new and different to the table, either in the way that we're using the cameras, or the storytelling we're using in the scene, or the way that the characters are being motivated by the action.
You look at 'Arrested Development' or 'Community,' we're constantly either deconstructing genre or tone. We like to say it's like being a mad scientist: you get to play in a laboratory and experiment with directions to take narrative in.
What we love about working at Marvel is they'll have a crazy opening for a movie like 'The Avengers' - like, a record-breaking all-time opening - and you get to the office on Monday, and they don't even have a pizza; it's back-to-work time.