Edward norton flying

He ran New York City like an autocratic Caesar and made almost all of the significant decisions about how New York evolved from being a 19th century city into being a modern city. Tim Ferriss: Speaking of directing, as I mentioned earlier, you wrote, produced, directed, and starred in this film.

Did you want to do, from the outset, all of those things? Or was that a byproduct of challenges you ran into, or is there some other origin story? It was a greedy actor impulse to grab a great role. But when I finally got it done, it took a solid eight years, I would say, for me to get to where I was happy with it, then I reached a point where I was in my own mind going to shop it around to directors that I admired. But someone did something good for me. Do the right thing.

I do love those films. They have meant a lot to me. And it was like he urged me across the line into getting excited about just owning it. So when did you have that meeting with this executive who gave you the talking to related to directing the film, roughly? Tim Ferriss: Because normally I — sorry to jump in.

But by and large, in my case, I never come back to them. Roughly, when did you have this conversation? Edward Norton: I probably started, actually not probably, I started actively writing it the summer of And I wrote 60 or 70 pages of what became page script.

And they were good. They were good. They were the beginning of the movie as it is now. And people really liked it. Tim Ferriss: I do, especially with this, if I could call it genre, right, is the getting lost in the murk is important. Edward Norton: Absolutely, it happens. And so I got hung up. And then I did that terrible thing, which is I put it in the drawer.

Right to your point. I think maybe should we let someone else take a crack at it? I have a feeling he might have just been sticking a fork in me. But it worked. And actually, this friend of mine, he was the studio executive who, at that time, was running New Line. And he actually did something that I laugh at in retrospect, which is he cited a specific director to me who I think he knew the idea of giving up my project to that person specifically was going to make my skin crawl.

And whether it was conscious or not, he hit me with exactly the right piece of information for my resolve to get very, very strong again. And I took it out and he did kind of put a deadline on me. I literally knuckled down and I pulled it out, I looked at it, I talked to some other writers with some focus who I respect, puzzled it out, cracked it, and finished it really aggressively. Like I wrote my college thesis, I wrote the large bulk of the rest of it in two or three weeks of long, deep nights of just powering it through, and then it was done.

Toby Emmerich. Tim Ferriss: Very, very clever. Maybe accidentally, but very helpful. Edward Norton: Clever, helpful, but also Hollywood and the business of movies is sort of like inside baseball. And then when I actually got it done, starting to try to figure out with me how to get it made. And then we went through this next period, which was five years of really struggling to — it was like the producorial struggle. And all thwarted throughout, we were constantly thwarted.

Why on earth would you hit these roadblocks? Edward Norton: Honestly, I think no one can ever take for granted that someone should just hand you money to make a film. You know what it is? I understood why it was tough. But none of those movies were financially successful. You can do it in some measure. But I needed slightly more than that, and so it was tricky. It was just tricky. Tim Ferriss: I want to continue on the hunt for producers and production budget.

But may I ask you a question about writing process? What does the first day of writing look like? Do you just start spitting out anything that comes to mind in hopes that something good lands on the page? Or do you use a different strategy?

What did the first day or the first few days of working on that look like and feel like for you? Edward Norton: Well, the really interesting thing was that when I read what I had written, I forgot some of what I had written and I liked it, like I was reading it as if someone else had written it and it was making me laugh.

I kind of had this reinvigoration of the pleasure of it, ironically, because procrastination does a really weird thing to your head. When you push something off, it starts to become monolithic.

This is such fun language. The characteristic, why did I put that? Why did I give up on this? It was just a plotting issue. And I looked at my cards. Tim Ferriss: Cards, you mean literally index cards for scenes? Edward Norton: Yeah, index cards. And I sat down on a huge rug and I mapped them all out, and I looked at the node that was like, this was the problem. This gets easily solved by just doing X, right?

Edward Norton: Yep. Who were great pals, great writers, wrote Rounders, produced The Illusionist. And it was like I ran them through it. And really they let me use them as a sounding board. I threw ideas around. Tim Ferriss: Yeah, such good guys. Just to take a second for that. Also co-creators along with Andrew Ross Sorkin of Billions.

Edward Norton: Billions. So they helped me punch through it. And then I went and like I said, I wrote the rest of it in kind of almost like a blitz and it was great. No, no way. No way. Like, competitive attitude within creative work. But at the same time, like, it galvanized me. Tim Ferriss: Yeah, I get it. I get it. I totally got it. Tim Ferriss: I do.

Like —. Tim Ferriss: percent. So it makes perfect sense to me. Somewhere in between putting aside the value judgment they are, meaning they exist. Harness them ultimately to, as one example, get the script done, right? Like how can you take whatever this motivation is, whatever this opportunity is, and turn it into something beautiful?

Because you sort of want what you want. And I really had all that conviction, but then I was like, bending my life.

It was like this shadow force. It was like a dark matter force in my life because it had this gravitational pull that it would affect my decisions. It was like bending the space time fabric of my life even though it was not happening, right? Tim Ferriss: Challenges and pursuing that, at that point, were you confident that you could get it made and that it was going to get made?

Or was it more of a test run to see or a fishing trip to see what type of feedback you would get? At that point, how convinced were you it would happen or how committed were you to sort of willing it to happen?

I had a moment of — this all went on so long that Netflix became a big force in the landscape of ways you could get this stuff done. And I could have walked over to those guys, who I think are awesome and I think gotten this done in probably one conversation. It was probably the thing I would have — it was before they had really started making some commitments to putting things in the theater the way they did with Roma.

But it was a timing thing and I felt very low about it at times. Very, very, not defeated, but just very discouraged and thought that it might be one of those things I just had to sort of sigh and make a big pivot on or let go of. And then a weird set of things started becoming emergent to me post And so that was a shift.

And then also I got Bruce Willis stepped in and stepped up for the movie and that made a difference. And I called in a lot of chips and figured out some very clever ways to pull together the co-financing alongside Warner Brothers that we needed and suddenly it started to tumble. Tim Ferriss: I have to — yeah, go ahead. Go ahead. I have a followup question. It felt like of its moment more than it had a few years before.

And I think it exerted more of a gravitational pull on this incredible cast of actors. And that helped me get it made too. Tim Ferriss: You have an incredibly star-studded cast you have in front of the camera. You also have — I did a fair amount of research prior to our conversation — you also have a lot of talent behind the cameras and working on the film in other capacities who are involved. Another added: "Wright's performance as Shuri was one of the things I liked most about the original, but I'm so disappointed in her recent behaviour.

And when push comes to shove, Terrence Howard learned this lesson the hard way. They've filmed everything bar her. She gets jabbed or recast. In October, Wright denied a previous article published by The Hollywood Reporter, in which the actress was accused of espousing anti-vaccine sentiment on the Atlanta set of the Black Panther sequel. Taking to Instagram, she wrote: "It saddens me to have to address the reports published by The Hollywood Reporter on October 6th The report spoke about my conduct on the set of Black Panther 2.

I honestly assert that this was completely untrue. Wright's performance as Shuri was one of the things I liked most about the original, but I'm so disappointed in her recent behaviour. Last year, Wright shared a minute video on her Twitter account which questioned the legitimacy of the COVID vaccine, among other claims.

Responding to the resulting backlash, Wright tweeted : "If you don't conform to popular opinions, but ask questions and think for yourself The star eventually removed the tweet, and stated her reasons for sharing the video, writing: "My intention was not to hurt anyone, my ONLY intention of posting the video was it raised my concerns with what the vaccine contains and what we are putting in our bodies.

Nothing else. The row over the UK's largest renewable power plant. But in a shocking turn, Wright left the project in , citing creative differences with Marvel. Fortunately, this release did not disappoint. In a devastating turn of events, however, Boseman passed away following a private battle with cancer in August You may also like: best movies of all time.

There is a pattern of Marvel movies being criticized as unoriginal, predictable, and shallow. You may also like: monumental movies from film history and why you need to see them. In this finale, the Avengers and other remaining MCU heroes embark on a mission using quantum mechanics in an attempt to bring back those who were snapped away by Thanos. You may also like: Best Meryl Streep movies.

Putting revenues aside, which heroes have been the most popular with fans? Here's a ranking of every live-action movie released by Marvel, according to IMDb data. Enjoy unlimited articles at one of our lowest prices ever. Edit Close. Log In Subscribe. Dashboard Logout. All Marvel movies ranked worst to best. Share this. Captain America Nick Fury: Agent of Shield The Fantastic Four Man-Thing Ghost Rider: Spirit of Vengeance Fantastic Four Howard the Duck Elektra Ghost Rider Daredevil The Punisher Hulk Blade: Trinity Punisher: War Zone Spider-Man 3 X-Men Origins: Wolverine Blade II The Amazing Spider-Man 2 The Wolverine X-Men: The Last Stand The Incredible Hulk Captain America: The First Avenger X-Men: Apocalypse Thor: The Dark World