The Business this week hosted James Mangold, the director and co-screenwriter of Logan, released earlier this month. He discusses one of the many problems that filmmakers face when dealing with studios, specifically, when a filmmaker is called upon to produce a franchise film: a loss of control.
The power of the filmmaker in a studio environment in regards to the franchise is almost nonexistent; and it goes all the way back to the structure of the franchise themselves. This is especially true with the Marvel Cinematic Universe, even more so with properties like X-Men, who are not technically under the umbrella of the MCU, being owned by Fox instead of Disney. Mangold makes the point:
“And I don’t think anybody with a human brain and ears and eyes is not starting to think that more is not more. And that adding more heroes, more characters, more effects, more sound…The fact is that the unspoken feeling is that this is a very weird trajectory we’re on. Less is coming back and the movies aren’t as good”
Of course Mangold is generalizing, he says as much. However this generalization makes a point that speaks to franchise structure.
“This is endemic. I think if you’re just going to use Marvel’s grosses and somehow use their movies to make them free of this kind of criticism that’s not fair….Outside of comic books, I’m talking about tent-pole movies in general, they’re not movies generally, they’re bloated exercises in two hour trailers for another movie they’re going to sell you in two years.”
There is of course a bright side to this, for Mangold does not deny that there are some good movies that emerge from the woodwork, referencing Guardians of the Galaxy (2014) and Iron Man (2008) as being notable exceptions to the rule. The problem lies in what successful films such as these ultimately produce-repetition.
Mangold and host Kim Masters discuss a bit about the specifics of Logan, involving the desire to include a Marvel comic in the film, something that was ultimately denied by the studio resulting in the production of a fake comic book, and then proceeds to get to the treatment of studios when it comes to creative directors.
“The reality is that all you have to do is experience…what it feels like when you don’t have control of your movie”
This brings up an interesting point and speaks to the current studio system, but at the same time also speaks to Mangold and others like him, showcasing, almost entirely in subtext, the narcissism of filmmakers and creative artists. This narcissism is not entirely their fault nor it is necessary a bad thing (see the work of Spike Jonze’s Adaptation, 2002) as long as it has a direction. In the case of franchises that direction often leads to “soullessness” and repetition. If directors and others in the industry are allowed to be creative in the confines of mainstream Hollywood, the repetition will cease and the quality of franchises will ultimately improve. This will require, in the most extreme cases, a new brand of Hollywood, one that is based on mutual trust and respect between all parties. That day is unfortunately far off, but hopefully, as long as there are creators, there will be films worth seeing, some of them part of a franchise.