00:00Quando perdo il controllo capitano cose brutte, ma è una bella sensazione.
00:31At that time, I was working at the studio back then, and all you're looking for are compelling stories that
00:37you think might connect with an audience.
00:40And obviously, the comic books themselves were incredibly popular, but still at that point in a fairly targeted audience.
00:47They were niche.
00:48They were niche, yeah.
00:49So in making the first X-Men, you hope, right?
00:54You hope it will, as you do with all your movies and all your children, so to speak.
00:58But you have no idea.
01:00And honestly, I think you only ever take one movie at a time.
01:06You really can't take these for granted.
01:10And certainly back then, I was very aware that the challenge of making sequels is you tend to assume the
01:19next movie will do as well as the first, which is a very dangerous assumption.
01:24And it can make you complacent.
01:26So, you know, the challenge then and, frankly, ever since has been how do we make sure that we advance?
01:33How do we make sure we do something different?
01:35How do we make sure we challenge ourselves?
01:36And in so doing, you know, give the audience something unique or new?
01:40And that really was the way we thought about it, certainly up through, you know, X3 and into first class.
01:49And, you know, by then they started to become really, started to dominate a little bit.
01:54And I think you felt, as filmmakers, I suspect directors felt this way, certainly we felt this way, that we
02:01had a little bit more confidence.
02:02But still, you can't ever take it for granted.
02:06So let's talk about this movie.
02:08The Dark Phoenix arc is very popular.
02:11It's well loved by comic readers everywhere.
02:14And it was featured in the X-Men The Last Stand, but kind of downplayed a little bit.
02:23So this was a chance to extend it, to give it justice in a way.
02:28I think Dark Phoenix feels like Simon Kinberg's and your baby, particularly your passion project, I don't know, I'm assuming
02:38here.
02:39So I wanted to ask you, how did this particular story feel natural to you as a step forward after
02:48Logan and Apocalypse?
02:50Great question.
02:51So I think you were right that, first, we'd done it in Last Stand.
02:58Simon, you know, particularly felt like he hadn't done that storyline justice.
03:03And I think it's something he'd always regretted.
03:05And secondly, coming out of Apocalypse, we felt like the movie and the visual effects and the spectacle somewhat upstaged
03:16the characters.
03:16And that that was a mistake, that the power of the X-Men comics and the movies has been the
03:23connection you have to the characters.
03:24So we wanted a story where we felt we could connect more deeply to each of the characters.
03:30We also wanted a story that was not as dependent on being an ensemble.
03:36Very tough in a movie like Days of Future Past to manage all the storylines and make you care.
03:42Because you're moving between storylines so often you don't have much real estate, you know, for any sort of substantive
03:49emotional story.
03:50So the combination of those issues and those challenges sort of led us back to Dark Phoenix.
03:56And it was Simon who felt like, I think Phoenix, if we really do the Phoenix story, we can accomplish
04:02all those things.
04:03And you also rightly identified Logan because certainly Logan taught us to be more confident about assuming a different tone
04:14than we'd used before.
04:16There's a similarity in the tone between X-Men 1, X-Men 2, and X-Men 3.
04:20I think First Class was a little bit different.
04:24You know, Apocalypse sort of has some resonance to the other X-Men.
04:28And so we wanted to do something really different.
04:31And the tone that Jim Mangle created for Logan was something that we could use as a touchstone to try
04:39to bring some of that to the X-Men.
04:42And still to be, you know, in keeping with the other movies, right, but do something a little bit different.
04:47So, since I have such an X-Men authority in front of me, maybe I can venture a big question.
04:55Why do you think superhero movies are so popular with audiences?
05:00Is it the studios that were really good at mixing the right elements?
05:06Or is it just, is there an inherent and universal fascination to this kind of stories?
05:13Also a great question.
05:14I think, I think it's, I think it's both.
05:17I think comic book movies provide inherently a level of spectacle and sort of fantastical entertainment.
05:24So it's, they're really well suited for the big screen, right, and for the technologies we now have to be
05:30able to do all the things that we can do.
05:31So we can, we can create and render these experiences as, as you've seen in, you know, Endgame and as
05:37we've seen in all these different movies.
05:39At the same time, they're, the foundation, the dramatic foundation is like myth, right?
05:45So they're, they're essentially very profound questions about humanity and, and questions about identity and questions about, you know,
05:55and the X-Men is very much about how do you fit in to a world that seems to hate
06:00you or, or to reject you?
06:02How do you find your place?
06:04Who are you?
06:04Those ideas sit at the center of these movies and I think are relatable and powerful to the general audience.
06:11So I think it's both.
06:14Do you want to threaten me?
06:17Exactly.
06:18It would be a terrible idea.
06:22Jane!
06:23Jane!
06:24Jane!
06:25Jane!
06:25Jane!
06:26Jane!
06:27Jane!
06:28Jane!
06:29Jane!
06:29Jane!
06:31Jane!
06:31Jane!
06:32Jane!
06:32Jane!
06:33Jane!
06:36Jane!
06:37Jane!
06:37Jane!
06:37Jane!
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