As a seasoned filmmaker with over two decades of experience under my belt, I’ve built a reputation for creating original stories that resonate with audiences from all walks of life. From the blockbuster successes of “Night at the Museum” and “Free Guy,” to more intimate projects like “The Adam Project” and “This is Where I Leave You,” I’ve always strived to avoid being pigeonholed into one specific genre or brand.
Two years ago in August, on an ordinary weekday, Shawn Levy, renowned director of “Night at the Museum” franchise and Netflix’s “Stranger Things” producer, had been meticulously working with Ryan Reynolds on a script for “Deadpool 3.” They collaborated with Rhett Reese, Paul Wernick, and Zeb Wells, two previous “Deadpool” screenwriters and Marvel comic-book/screenwriter respectively. However, despite their persistent efforts, presenting multiple treatments, outlines, and pitches to Marvel Studios failed to meet the approval due to the challenge of incorporating Deadpool’s R-rated persona into the more stringent MCU.
“According to Levy, creating a Deadpool story that feels authentic, with a grounded, raw, and real-world vibe, overlaps only slightly with what’s typical in the MCU. This includes universal stakes and larger-than-life storytelling. Feige aimed for a Deadpool film that would fit seamlessly into the MCU. However, achieving this balance is quite challenging.”
Feige serves as Marvel’s president and main producer, overseeing the creation and management of the Marvel Cinematic Universe as its chief architect and brand manager. He granted permission for the gory spouts of blood and hints of homosexual undertones in “Deadpool 2,” making it the highest-grossing R-rated film, on the condition that Levy successfully blended Fox’s franchise intellectual property into Disney’s ownership. (Disney bought Fox for $71.3 billion in 2018.) The turning point was due to Reynolds and Levy’s mutual acquaintance, who had appeared in nine “X-Men” films – another Fox asset now under Disney control – but who was killed off in the Oscar-nominated “Logan” in 2017.
As a seasoned producer with years of experience under my belt, I can tell you that receiving a call from a Hollywood heavyweight like Hugh Jackman is always an exciting moment. In this particular instance, I recall the conversation vividly. “Guys, I don’t know where you’re at. I don’t know if you have a script. I don’t know when you start shooting,” Jackman said, his Australian accent clear in my ears. “I want in. I’m gut checking. I want a Wolverine-Deadpool movie and if you have a seat at the table, I’d love to join.”
Endgame” and “Captain America: Civil War.” Levy shares, “I didn’t anticipate that my Marvel directorial debut would be the most fulfilling creative journey of my career,” during an interview at the Hotel Bel-Air following the completion of post-production on “Deadpool & Wolverine.” Although it’s common for directors to praise their studio partners during promotional tours, these comments carry more weight given that we’re talking about Marvel Studios. The company has a notorious reputation for restricting filmmakers creatively, making Levy’s experience all the more exceptional.
In her interview with Nia DaCosta, who directed last year’s Marvel film “The Marvels,” acknowledged that since it was a Kevin Feige production, she had to accept that some aspects of the movie would be under his control. She explained, “So I had to adapt and work within that framework, but I came in with the understanding that not everything would be mine.”
Using a more conversational tone,
During a time when Disney, following the underperformance of recent Marvel titles like “The Marvels” and “Eternals,” as well as a five-year hiatus in Star Wars movie releases from Lucasfilm, has declared its intention to focus on quality over quantity in film and streaming projects; Bob Iger’s announcement during an earnings call in May – Levy stands out as a stabilizing influence. A proven success story with a lengthy background in producing hit movies and original intellectual property, capable of generating enthusiasm among high-level executives without being a demanding or egotistical figure. An amicable Canadian who excels at creating widely appealing mass entertainment on a global scale, without the grandiose aspirations for Kubrickian greatness often associated with prima donnas in the industry. In essence, Levy’s demeanor is described as more of a smile than a resting bitch face by most accounts.
His impressive reputation extends beyond Disney, leading Netflix to secure a significant deal with Levy and 21 Laps in 2020. This agreement resulted in popular series like “Unsolved Mysteries” and adaptations such as “The Perfect Couple” and “All the Light We Cannot See.” According to Netflix’s chief content officer, Bela Bajaria, “I’ve collaborated with Shawn for quite some time now, and he consistently embodies a collaborative spirit. He’s hardworking and instills an atmosphere of kindness both within his company and on film sets. These qualities are invaluable.” Besides, Levy’s proven success in reaching the four quadrants audience is equally significant.
As a movie enthusiast, I’d put it this way: “I aim to reach a large and diverse crowd,” says Bajaria, “and I’m always on the lookout for a tale that can capture hearts globally with its universal appeal.” (Feige declined an interview opportunity.)
In a change of pace for Deadpool, played by Reynolds, he feels lost and aimless after being dismissed by both the Avengers and X-Men. He retires his red tactical suit and takes up a new job selling minivans. However, Deadpool is unwittingly drafted by the Time Variance Authority (TVA, known to viewers of Disney+’s Loki) to prevent the world from being destroyed. The cause of this impending doom? Restoring the “anchor point”: a person whose death has set off a cosmic self-destruct sequence. Guess who that person is? None other than Jackman’s 55-year-old Wolverine/Logan.
Before any talks about Levy directing a third “Deadpool” film, Levy and Reynolds met. At that time, Deadpool hadn’t yet declared himself “Marvel Jesus.” They were both acquainted with Jackman, who had collaborated with Levy on “Real Steel” and was friendly with Reynolds through their shared history in the “X-Men” series. Jackman assured them, “If you two team up, you’ll never want to work with anyone else.” Eventually, they joined forces on the 2021 action-comedy “Free Guy,” which grossed an impressive $331 million globally against a $120 million budget, and the sci-fi dramedy “The Adam Project” for Netflix. During filming on “The Adam Project,” Reynolds suggested reprising his role for a third installment – but only if Levy was at the helm. “I know you’ll say no, but I’ll keep trying to change your mind,” Reynolds recalled saying. “I underestimated how all-consuming and unrelenting these movies can be,” Reynolds admitted later.
In Levy, Reynolds discovered a fellow traveler – a previous supporting actor in TV and USC film school alumnus with an impressive resume of major studio comedies. Notably absent from his body of work were any superhero credentials. More intriguing, Levy’s family-friendly filmography showed no signs of the witty, crude humor found in Deadpool’s introduction to battles with Wolverine: “Gather your unique socks, nerds, this is about to get exciting.”
Within a few weeks of Levy beginning his job, the main storylines, character development, and humorous elements for “D&W” were penned down. Next, there were the satirical jabs at the production process behind the film, as Deadpool quipped in voiceover, “I didn’t think I’d be back. Disney bought Fox. There were a lot of legal issues.” Feige’s involvement was also included, with Leslie Uggams’ Blind Al character asking Reynolds about doing cocaine in a scene from the movie’s red-band trailer. “Cocaine is one thing Feige said was absolutely off limits!” Deadpool responded. Additionally, there were references to Marvel’s recent box office slump, as Wade told Logan during a crisis moment, “Welcome to the MCU. You’re joining at a bit of a rough patch.” Levy smiled and said, “No one is safe. The enjoyable part is the self-aware commentary. It’s a writer-director’s dream because you can critique the very thing you’re creating as you create it.”
In contrast to other films in the franchise, “Deadpool & Wolverine” is self-contained and doesn’t build up to future installments. According to Levy, “Ryan and I told Kevin, ‘This movie won’t set up for another film or worry about connecting to nine others. It will focus on these characters, and we’ll adhere to the canon but make this a standalone story.’ There was no disagreement, and we never felt compelled to align it with a larger vision. The pressure from the Marvel Cinematic Universe was lifted almost right away by Kevin.”
Reynolds downplays the notion that he and Marvel had to contend for creative control. According to him, “I don’t believe either of us view studios or executives as adversaries.” Working with Kevin Feige and Lou D’Esposito from Marvel isn’t about pitting ourselves against them; it’s a sign of inexperience to assume that and engage in such a conflict.
Similar to Bajaria and Reynolds, Levy’s other colleagues, such as Dan Levine and Dan Cohen from 21 Laps, are full of praise for him. They often become excited when talking about what they admire about him: his tireless work ethic, overflowing creativity, skill in navigating the Hollywood environment, and capacity to finish projects ahead of schedule and below budget. (Principal photography for “Deadpool & Wolverine” was accomplished in just 69 days, one of the quickest shoots in Marvel’s history, without any reshoots.)
In many projects, particularly movies at a high level, things often veer off course and consume a lot of time, according to Cohen. Many conversations can lead astray, regardless of their length, be it three minutes or an hour. Rarely do we end such discussions with the project having made significant progress. Shawn’s infectious energy and ability to engage everyone fully in the project is undeniable. However, every interaction with him also drives the project forward, aiming to define its vision and set a start date.
Reynolds points out that both he and the director experience a deep-seated anxiety about not succeeding. However, the director’s strength lies in creating content that appeals to large audiences with universally loved themes. As Levy puts it, “People ask me, ‘What’s your niche?’ I’ve deliberately shied away from being pigeonholed.” You wouldn’t group Night at the Museum, Free Guy, The Adam Project, and This is Where I Leave You together based on their genres. Instead, Levy aims to create entertainment for a broad audience rather than a small, select group.
As a cinema enthusiast, I can tell you that last year, Kathleen Kennedy, the president of Lucasfilm, personally contacted me. She appreciated the sense of joy, fun, and delight I’ve brought to the shows and films I’ve worked on. In our September 2022 meeting, she made it clear she wanted me to create a Star Wars movie that embodied my unique style and vision. Her main instruction was, “I want a Shawn Levy film.”
The final Star Wars trilogy sparked controversy among fans and saw declining box office revenue. For instance, Episode IX – The Rise of Skywalker generated approximately $515 million globally, which is less than half of Episode VII – The Force Awakens’ earnings ($936.6 million). Kennedy, known in Hollywood for restricting creative freedom to filmmakers, reportedly replaced Phil Lord and Chris Miller during the production of Solo: A Star Wars Story due to dissatisfaction with their progress. She also disagreed with Gareth Edwards’ director’s cut of Rogue One and brought in Tony Gilroy to oversee extensive reshoots. Kennedy dismissed Josh Trank, Colin Trevorrow, and D.B. Weiss and David Benioff for creative differences before they had a chance to direct any Star Wars projects.
Despite this, Levy maintains an optimistic outlook. He shares, “Throughout my 20-plus year career, I’ve focused on creating unique films and series. It’s quite intriguing that this extended history of crafting original content has brought me to a point where I am now entrusted with the esteemed intellectual properties. The feeling is somewhat unreal.”
Does the director have plans for another Marvel film in his career? He shared with me, “I intend to create more Marvel movies during my lifetime,” but declined to provide specifics about when or which projects these might be. The director described his return to the Marvel Cinamic Universe as an “all-consuming passion” he’s never experienced before. However, he acknowledged that developing a Star Wars film for himself to direct would also present its own set of challenges. With Deadpool and Wolverine now in theaters, the director is unsure which franchise he’ll take on next. Next week, he will resume work on Stranger Things season five, where he intends to helm two episodes.
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2024-07-26 18:54