{"id":295253,"date":"2021-07-09T22:45:34","date_gmt":"2021-07-09T19:45:34","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/black-widow-eric-pearson-interview-on-that-opening-scene-film\/"},"modified":"2021-07-09T22:45:34","modified_gmt":"2021-07-09T19:45:34","slug":"black-widow-eric-pearson-interview-on-that-opening-scene-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/black-widow-eric-pearson-interview-on-that-opening-scene-film\/","title":{"rendered":"#Black Widow Eric Pearson Interview on That Opening Scene \u2013 \/Film"},"content":{"rendered":"

“#Black Widow Eric Pearson Interview on That Opening Scene \u2013 \/Film<\/strong>”<\/p>\n

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Black Widow<\/em><\/strong> screenwriter Eric Pearson<\/strong> is no stranger to the MCU. In addition to penning Natasha Romanoff\u2019s (Scarlett Johansson<\/strong>) standalone film, he also wrote the script<\/a> for Thor: Ragnarok<\/em>, several Marvel One-Shots, and multiple episodes of Agent Carter.<\/em><\/p>\n

\/Film talked with Pearson about his experience writing for the MCU, including how he approached created Black Widow<\/em>\u2019s story. Read on for that interview, which contains only very mild spoilers for the film.<\/p>\n

This isn\u2019t your first foray in the Marvel world. And it\u2019s not even your first writing of a character that the audience knows is no longer with us. You also wrote for Agent Carter,<\/em> which is somewhat similar to Black Widow <\/em>in that you\u2019re writing in a different timeframe and writing for a character that the audience knows is no longer with us in the MCU\u2019s contemporary timeframe. Did your experience on Agent Carter<\/em> inform you at all in writing Black Widow<\/em>?<\/strong><\/p>\n

I\u2019m not sure if it actively did. I can\u2019t think of an example where I was like, \u2018Oh, thank God, I learned this lesson from Agent Carter.<\/em>\u2019 I mean, Agent Carter<\/em> was probably the most helpful in that it was the first TV job that I\u2019d had. Collaboration is really important \u2014 I\u2019ve been so fortunate that I started my career with Marvel Studios. Everybody really collaborates there. They really do. And if any project is in trouble, everybody circles the wagons, and they all help out. And so, you learn to work with other people. And then Agent Carter,<\/em> with my bosses, Tara Butters and Michele Fazekas running the room, it just felt so collaborative.<\/p>\n

And also, I feel like we leased these characters. I didn\u2019t create Thor Odinson. I didn\u2019t create Natasha Romanoff. I am leasing them to tell a story. And with Black Widow<\/em>, Scarlet was a producer, and Cate Shortland<\/strong>, our director, had a lot of very specific thoughts. I guess the biggest lesson is just saying is the Natasha Romanoff story that we\u2019re telling. How do I best service this character and this vision and this theme and this story?<\/p>\n

With Marvel movies<\/a> and shows, there\u2019s a balance of making sure the story you\u2019re telling is a standalone cohesive story, but also fits into the jigsaw puzzle that is the Marvel Cinematic Universe. How did you approach that for Black Widow<\/em>, especially knowing that this is likely the last time that we\u2019ll see Natasha?<\/strong><\/p>\n

This was the trickiest one, honestly. By the end of Thor: Ragnarok<\/em>, we knew they were going to end up in space and Thanos is going to show up. So there\u2019s a lot of ways to get there. But this was like, \u201cOkay, we are right after Captain America: Civil War<\/em> but before Avengers: Infinity War<\/em>.\u201d So it was a very short window. This was the trickiest one, and the villain threat was the trickiest part of that, because you needed a villain threat that could realistically succeed, but we wouldn\u2019t notice. That was the hardest thing.
\nUltimately, it led me to a place where it worked for the spy thriller genre we\u2019re going for, and for Natasha\u2019s character as well, to have this scumbag-y villain who is basically a coward and is hiding in the dark, puppeteering things. Because he\u2019s such a coward, he doesn\u2019t care about how much he\u2019s ruining other people\u2019s lives. That felt like an appropriate villain threat that also works, as opposed to say, \u201cI\u2019m going to blow up the moon.\u201d You can\u2019t say that because we\u2019ve seen Infinity War<\/em>. There\u2019s a moon there. We know that.<\/p>\n

But besides that, it was fun, because what we got to do with Natasha is really show this whole other side of her. She\u2019s been in six movies, seven movies, maybe, and the whole time you felt like you knew her. And then a scene that I really like is she goes off the grid, and she meets this character named Mason, who she\u2019s so comfortable with. He\u2019s so comfortable he\u2019s able to sleep in a bed that has been set up for her.<\/p>\n

And it was meant to put the audience off balance. You think you\u2019ve known her, because you\u2019ve been around her with Tony Stark and Captain America and Nick Fury and all this stuff. But no, she\u2019s actually got this whole other thing that you don\u2019t know about. And that gave us a lot of freedom to really explore new things with her.<\/p>\n

\"Black<\/p>\n

You talked about the big, bad villain and truly making him evil, of showing the trauma that he put all the girls who went through the Red Room through and specifically Natasha and Yelena. The movie sets this up by starting in mid \u201890s Midwest America. How did you come up with that idea?<\/strong>
\nI\u2019ll be honest, Marvel had that when I came in. They had a few things figured out that they wanted to do. And one of them was the idea of this American family. Having this family like a prologue, and then having a \u201cgetting the band back together\u201d dynamic to the story. So I knew that it was going to be somewhere in the American Midwest, and it was really just getting the character dynamics right, the action right, and the plot device \u2014 the MacGuffin they\u2019re stealing.<\/p>\n

Did you know Yelena would be so funny, or is that something that came after Florence Pugh was cast? <\/strong><\/p>\n

I immedia<\/a>tely wanted Yelena to be funny. For me, I feel like there\u2019s a couple of ways to make new characters, to endear them to an audience. They can do something really cool, or they can make you laugh. It\u2019s always been easier in my life to make people laugh than to be really cool. So I just was thinking immediately of this kind of dynamic. She\u2019s also in contrast to Natasha Romanoff, who is emotionally guarded and very reserved. I thought we would have an action introduction to where you see Yelena \u2014 where she\u2019s brutal and ruthless and awesome.<\/p>\n

But what if, as opposed to Natasha \u2014 who has reset her life after leaving the Red Room and controls all the information that people know about her as a defense tactic \u2014 what if Yelena is just emotionally naked. She\u2019s going to say everything and be openly annoyed at you for doing something that bugs her. And it just worked for their dynamic really well. Plus, Florence is very funny. I mean, there\u2019s no denying she\u2019s just a very funny person and has that kind of energy. I was just getting introduced to her through Lady Macbeth<\/em> and Fighting With My Family<\/em>. And so, once you see the actor, you\u2019re like, \u201cOh yeah, there\u2019s a lot of just intentional and unintentional comedy that can come out of her.\u201d<\/p>\n

This interview has been edited and condensed for clarity.<\/em><\/p>\n

***<\/p>\n

Black Widow <\/em>is currently in theaters and on Disney+ Premier Access.
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“#Black Widow Eric Pearson Interview on That Opening Scene \u2013 \/Film” Black Widow screenwriter Eric Pearson is no stranger to the MCU. In addition to penning Natasha Romanoff\u2019s (Scarlett Johansson) standalone film, he also wrote the script for Thor: Ragnarok, several Marvel One-Shots, and multiple episodes of Agent Carter. \/Film talked with Pearson about his…<\/p>\n","protected":false},"author":1,"featured_media":295254,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/bbu-11587_r_8628ac9f.jpeg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[1570,1361],"class_list":["post-295253","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-features","tag-movies"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/295253","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=295253"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/295253\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/295254"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=295253"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=295253"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=295253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}