(Editor's note: includes spoiler for Wonder Woman 1984.)
With Wonder Woman 1984 Now that I've been streaming on HBO Max and in select theaters around the world, I spoke to the director recently Patty Jenkins about the much anticipated DC sequel. During the extensive interview, Jenkins announced whether she would release an extended or Director's cut of Wonder Woman in 1984, deleted scenes from how they got on the Invisible Jet, the post-credits scene, and more. She also talked about her upcoming one Cleopatra Film with Gal Gadot, the status of the Star Wars: Rogue Squadron Script and who is writing it and how she balances all of her projects.
As you all know, Wonder Woman takes place in 1984 Gal GadotWonder Woman, who lived in 1984 and competed against Maxwell Lord (Pedro Pascal), a media entrepreneur and TV celebrity. He's not the only villain in the film, however Kristen Wiig fills the role of Barbara Ann Minerva, a.k.a Cheetah. Plus, Pine is kind of back as Steve Trevor …
Check out what Patty Jenkins had to say below.
Collider: Did you see the Snyder Cut?
PATTY JENKINS: No, I haven't.
Do you think Zack will show you early?
JENKINS: I've been so busy that I didn't even ask. I am sure he would if I asked. I would love to see it. Oh actually, Gal and I may try to see it sometime soon.
Very jealous. A year ago we spoke at CCXP and you told me that you basically locked an image and you are basically done.
Last year you worked on a Cleopatra movie, a Star Wars movie, a sequel to Wonder Woman, and another sequel to Wonder Woman. What is the first thing you work on when you close the press for this film?
JENKINS: All of them really, and I have a TV show, all of them, but I'm really looking forward to it … I think they are all great and I keep pushing them all the time and we kind of have a first come plan and tries to organize how many things can happen.
Image via Warner Bros.
You're in that rare position where you can make some really cool movies. Is it one of those things that you say, "Okay, I'll do all three and do them a year, a year, a year"?
JENKINS: You can never do that in a year. You could never make a good Star Wars movie in a year or a good Cleopatra in a year. I think each of these films will probably last two years. But I think, as I even learned from the two Wonder Woman & # 39; s, I had already sold a limited TV series that I was in love with when they decided to postpone the 1984 Wonder Woman release date. So suddenly it happened on top of each other. And I was actually able to write a great treat, have a series of creative meetings, and do my show while preproduction for Wonder Woman was in 1984. So there are many options. Of course, by the time I get on set, I could do Star Wars, develop all sorts of other things and push them forward. It really is possible. So, I think that's how people seem to do it, doing multiple things at once, which I'm usually pretty uniquely focused, but I'm getting better and better at it.
When we spoke a year ago we were talking about how you worked on the editing, the final length of the film.
I heard there was a bit of a debate between the studio and you about the final term. The film lasts two and a half hours. Have you had any discussions about an extended edit for HBO Max or the Blu-ray?
JENKINS: No. I wouldn't even want to. The reason for this is because I grew up at the pace of movies that are a little slower and I think that's great. And when I show these films to my son, there is no part of him that thinks they are too slow. When you watch Superman or Raiders of the Lost Ark nothing is too slow. We've moved in movies pretty quickly now, but that doesn't add up to emotions for me. But I'm a director too, so who knows? Maybe I'll indulge myself and just play around in scenes for too long to keep the movie going. In general, directors do this when you leave them alone.
That's the only difference I have in the end. I would like to take a little more time and have a little more air everywhere in scenes that we really had anyway. And that's it. So if I broadcast my longer cut, it would be 15 minutes or 10 minutes longer and everyone would say "I couldn't tell the difference" because it would be just a little bit slower across the board, so not really worth it .
I get it. I like having moments to breathe in a movie. And I think, for example, that all that stuff is in the apartment with Chris when he tries on things. If this scene had been twice as long, I would still have loved it.
JENKINS: Great. That's how I feel.
But here too it depends on the scene. What was the last scene you cut out and why?
JENKINS: I didn't cut out very many scenes in this film. I only cut out parts of scenes. The only scene I can even think of that we cut out was Steve and Diana calling a taxi outside the Natural History Museum to get to Black Gold. That's the only actual scene that I think we cut out.
Image via Warner Bros.
Did you have a lot of influence on how Wonder Woman would fit into both versions of the Justice League, and did that even affect your approach to the sequel?
JENKINS: I had no control over how it fits into either version of the Justice League. I was filming Wonder Woman when they started filming Justice League, so it was a very, very busy time. But no, I never had any input or even knowledge of what was going to be going on in the Justice League. Yes, I always tried to be respectful of where she ended up and keep the same suit and all those things, but I wasn't sure what was going to happen there.
Whose idea was it for the invisible jet?
JENKINS: I was absolutely fixated on that. I remember when I started saying I wanted to make Wonder Woman and someone said to me, "Well, how do we make her cool?" And I said, "First, hire someone who already thinks you're cool, like me." And number two, none of them are cool. As if none of these characters were cool on the site in the 1950s. We make them cool. And so I thought the invisible jet was the absolute hardest part of figuring out how to make it cool because you had seen everything she was sitting in the seat. I said, "I'll find out how to make this invisible jet one day."
And so I remember that there was a moment when Geoff Johns and I were sitting together and talking about a scene and how they got to Egypt. And suddenly we said, "Oh my god." We figured out how to do this scene. I was so excited and worked so hard on it that it made sense if her dad hid Themyscira then they found out how to do the wall. And so it was so cool to find out.
Can you definitely tell if Porkins is the star of the Rogue Squadron or not?
JENKINS: I can't say anything definitely.
I'm just joking clearly. It's obviously not Porkins.
JENKINS: I know. It's so hard to talk about.
Image via Warner Bros.
Clear. I know you have to be careful talking about it, but can you tell people where you are in the writing process and who is actually writing the script?
JENKINS: I want him to have his own real announcement, so I'll wait for that to come out, but we're very far on this, we're basically finishing the treatment, which is pretty big. So it's like you're pretty close to a screen, a good script when I'm done with treatment in my process. So yeah, we worked on it for a while. It's going great. I'm super excited about it.
Cleopatra is a project that many filmmakers have embarked on over the past decade or two. What do you think is it about your version that gets the green light that will actually make it?
JENKINS: I think I actually have a story where I looked at complicated characters … Monster, who to tell the story to and then and then and then. But the truth is, when you get into that person's point of view, it becomes an interesting story another way. And hopefully I did the same with Wonder Woman. So if we apply the same approach to one of the most famous women in history, Cleopatra, the truth is that the only story we know about her was told by the Romans, who killed and hated her. And if we really look at what exists elsewhere on Cleopatra, you see a pretty wicked, incredible leader. One of the great leaders in Egypt.
Once we really get into the details, there is a pretty incredible story out there that is the same story, but you understand it very differently if you change things just a little bit from where you see them. I just think it's a story she deserves to be beautifully told one day. Gal has been developing this for a while and when she brought it to me I was so excited about what it could be. And I think she would be an amazing Cleopatra.
I already have to go. A million other questions. I'll just say I'm very excited for you and congratulations on booking Star Wars.
JENKINS: Thank you, Steven. I appreciate it so much. I hope you like it.
Paul Greengrass, director of News of the World, explains why movies are always better when there are limitations
Greengrass also talks about why he always wanted to do an adaptation of George Orwell's "1984" and why it is such a challenging project.
About the author
(9082 articles published)
Steven Weintraub started Collider in the summer of 2005. As Editor-in-Chief, he converted the website from a small bedroom business to millions of readers around the world. If you want to follow Steven on Twitter or Instagram, expect plenty of breaking news, exclusive interviews, and pictures of cats doing stupid things.
More from Steve Weintraub